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Kate Pok

Workflowy, example of bad productivity app and 7 features that would make it awesome - 3 views

    • Kate Pok
       
      I also agree with most of these needed features.
  • Here is the list of things that every productivity application should have: Integration with iCal / Google Calendar - for those who rely on Google SMS texts as reminders Powerful search – so I don’t have to waste time looking for the things that I need Available on all platforms (Mac, PC, Android, iOS, Black Berry…) – so if I change the device, I don’t need to be left apart Sharing options (Facebook, Twitter, @mail) – so I can share my thoughts with my friends without writing it twice and copy pasting Tagging – so we can organize ourselves better Reminders – so we can setup alarms without finding the native app Offline access – so we don’t have to rely on internet in order for our system to work.
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    But I have to admit, I LOVE WORKFLOWY
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    While this site lists some of the limitations of Workflowy, I have to admit I LOVE workflowy
Nate Fish

I Won't Hire People Who Use Poor Grammar. Here's Why. - Kyle Wiens - Harvard Business R... - 143 views

  • Everyone who applies for a position at either of my companies, iFixit or Dozuki, takes a mandatory grammar test.
  • But grammar is relevant for all companies. Yes, language is constantly changing, but that doesn't make grammar unimportant. Good grammar is credibility, especially on the internet.
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    Great overview of how much we have to communicate more correctly as we communicate more technologically.  Planning to look at this with all of my students.
Maggie Tsai

MeaningPhil Stuff?: Web 2.0 in the Classroom - 6 views

  • I just finished teaching a computer ethics course at Judson University--okay, it's still Judson College now, but they will be changing to University this Fall (www.judsoncollege.edu). I used a web 2.0 tool called diigo (www.diigo.com). Diigo is an acronym for "Digest of Internet Information, Groups and Other stuff".It may be that you've heard of del.icio.us which is a very popular social bookmarking tool. Diigo is a social bookmarking tool plus annotation tool. It allows you to read an article, bookmark it, and within the article, make annotations like "highlighting" and "sticky note comments". This makes it an awesome research tool.In the past I have had students bring articles to class that pertain to the assigned chapters, but this time I made this an entirely digital activity. The students were to find online articles, book mark, annotate, and share them with the group forum that I set up for them. We then, with the group forum on the projector screen, would have each student talk us through their article.While this tool is still in "beta" the student assessment survey that was taken at the end of the last class seemed to indicate that this activity was well received.
ron houtman

Engaging Schools: Fostering High School Students' Motivation to Learn - 59 views

  • When it comes to motivating people to learn, disadvantaged urban adolescents are usually perceived as a hard sell. Yet, in a recent MetLife survey, 89 percent of the low-income students claimed I really want to learn applied to them. What is it about the school environment pedagogy, curriculum, climate, organization that encourages or discourages engagement in school activities? How do peers, family, and community affect adolescents attitudes towards learning? Engaging Schools reviews current research on what shapes adolescents school engagement and motivation to learn including new findings on students sense of belonging and looks at ways these can be used to reform urban high schools. This book discusses what changes hold the greatest promise for increasing students motivation to learn in these schools. It looks at various approaches to reform through different methods of instruction and assessment, adjustments in school size, vocational teaching, and other key areas. Examples of innovative schools, classrooms, and out-of-school programs that have proved successful in getting high school kids excited about learning are also included.
Steve Ransom

Wake Up and Smell the New Epistemology - The Chronicle Review - The Chronicle of Higher... - 32 views

  • Good pedagogy is the product of instructors who respect, understand, and creatively engage their students.
    • Steve Ransom
       
      Hear hear!
  • make transparent
  • I am asking instructors to see the two questions that the new epistemology emblazons across the front of every classroom — "So what?" and "Who cares?" — and then to adjust their teaching accordingly.
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  • show no patience for lectures
  • Good pedagogy is the product of instructors who respect, understand, and creatively engage their students.
  • except for the occasional late bloomer, we fail miserably at creating sustained intellectual fires among the vast majority of our practical, credential-driven students.
  • better and more widely achievable educational goal should therefore be to inculcate a respect for learning and the pursuit of knowledge.
  • public scholarship
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    An excellent read for those interested... and those who need a kick in the pants re: engaging meaningfully a new culture of students, especially in higher education.
Ms. Nimz

If Students Learn Differently, Why Do Public Schools Only Support One Way? « ... - 66 views

  • true change for the better most often happens in a disruptive manner
  • learning should be tailored to the needs of each individual student
  • learning styles that match the instructor’s teaching style can be a significant factor in developing “smart kids.”
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    "I've been reading the book Disrupting Class by Clayton Christensen recently. While I'm only half-way through the book, it has provided some interesting and thought-provoking ideas about lesson content, pedagogy and individual student needs as they relate to pubic schools."
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    An review that reflects on our different learning styles. Has anybody read this book?
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    Daniel Willingham is a cognitive scientist who wrote a book called "Why Don't Students Like School?" His ideas are supported by science. Clayton Christensen is a business professor His ideas about education are not as well supported.
D. S. Koelling

5 Myths About the 'Information Age' - The Chronicle Review - The Chronicle of Higher Ed... - 0 views

  • 1. "The book is dead." Wrong: More books are produced in print each year than in the previous year. One million new titles will appear worldwide in 2011. In one day in Britain—"Super Thursday," last October 1—800 new works were published.
  • 2. "We have entered the information age." This announcement is usually intoned solemnly, as if information did not exist in other ages. But every age is an age of information, each in its own way and according to the media available at the time.
  • 3. "All information is now available online." The absurdity of this claim is obvious to anyone who has ever done research in archives. Only a tiny fraction of archival material has ever been read, much less digitized. Most judicial decisions and legislation, both state and federal, have never appeared on the Web. The vast output of regulations and reports by public bodies remains largely inaccessible to the citizens it affects. Google estimates that 129,864,880 different books exist in the world, and it claims to have digitized 15 million of them—or about 12 percent.
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  • 4. "Libraries are obsolete." Everywhere in the country librarians report that they have never had so many patrons. At Harvard, our reading rooms are full. The 85 branch libraries of the New York Public Library system are crammed with people.
  • 5. "The future is digital." True enough, but misleading. In 10, 20, or 50 years, the information environment will be overwhelmingly digital, but the prevalence of electronic communication does not mean that printed material will cease to be important. Research in the relatively new discipline of book history has demonstrated that new modes of communication do not displace old ones, at least not in the short run.
  • I mention these misconceptions because I think they stand in the way of understanding shifts in the information environment. They make the changes appear too dramatic. They present things ahistorically and in sharp contrasts—before and after, either/or, black and white. A more nuanced view would reject the common notion that old books and e-books occupy opposite and antagonistic extremes on a technological spectrum. Old books and e-books should be thought of as allies, not enemies.
  • Last year the sale of e-books (digitized texts designed for hand-held readers) doubled, accounting for 10 percent of sales in the trade-book market. This year they are expected to reach 15 or even 20 percent. But there are indications that the sale of printed books has increased at the same time.
  • Many of us worry about a decline in deep, reflective, cover-to-cover reading. We deplore the shift to blogs, snippets, and tweets. In the case of research, we might concede that word searches have advantages, but we refuse to believe that they can lead to the kind of understanding that comes with the continuous study of an entire book. Is it true, however, that deep reading has declined, or even that it always prevailed?
  • Writing looks as bad as reading to those who see nothing but decline in the advent of the Internet. As one lament puts it: Books used to be written for the general reader; now they are written by the general reader. The Internet certainly has stimulated self-publishing, but why should that be deplored? Many writers with important things to say had not been able to break into print, and anyone who finds little value in their work can ignore it.
  • One could cite other examples of how the new technology is reinforcing old modes of communication rather than undermining them. I don't mean to minimize the difficulties faced by authors, publishers, and readers, but I believe that some historically informed reflection could dispel the misconceptions that prevent us from making the most of "the information age"—if we must call it that.
Kate Pok

iAnnotate PDF Vs. GoodReader for reading and annotating - MacRumors Forums - 118 views

    • Kate Pok
       
      Goodreader or iannotate - I currently have iAnnotate.
  • IMHO iAnnotate is far superior. There are a couple of areas GoodReader excels (like in the automatic page fit, having two up, etc), but by and large iAnnotate does everything else more effectively. These are just a few reasons why it suits my workflow better than GoodReader: - Tabs. It speaks for itself, but having several documents open with the ability to flick between them is useful. - Sharing features. The ability to email or paste to clipboard a summary of all notes/highlights/annotations you've made is just brilliant, and makes light work of noting the most poignant areas in an academic article. - Annotation tools. They are far quicker to access than in GoodReader. If you want to highlight something in iAnnotate, you just tap the icon in the toolbar and drag it over the text (as much as you want – you can scroll through the document even with the highlight tool selected) before confirming your selection. You can set as many different colour highlighters up as you want. By contrast, in GoodReader you must tap-and-hold, drag the handles to select a continuous chunk of text, then tap highlight from the popup. If you want to change the colour of the highlight you need to tap, choose colour, confirm your choice; using multiple colours is just too time consuming. I prefer the behaviour of notes in iAnnotate too, for reviewing and revision purposes. Tapping every note in GoodReader is tiresome.
Elaine Higuera

Common Core Lesson Resource - 31 views

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    "In a brave new world of learning, OER content is made free to use or share, and in some cases, to change and share again, made possible through licensing, so that both teachers and learners can share what they know. Browse and search OER Commons to find curriculum, and tag, rate, and review it for others."
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    Open Educational Resources: Free-to-Use teaching & learning content from around the world
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    Free-to-use teaching and learning content from around the world.
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    Find Free to Use Teaching and Learning Content from around the world
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    The revolution will not be televised!
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    ELA, Math, SS, Science, Art, etc. Create a free account, save lessons, upload lessons, etc. Searchable by subject or grade level.
meghankelly492

The association of music experience, pattern of practice and performance anxiety with p... - 0 views

  • Music inexperience, changed pattern of practice and performance anxiety are associated with playing-related problems in child instrumentalists and are therefore important issues for music education.
  • Research on adult musicians has adopted these models and identified individual intrinsic factors such as age and gender, music performance anxiety and enjoyment, extrinsic factors such as music practice habits and type of instrument played and intrinsic–extrinsic interaction factors such as playing posture, technique and student–teacher interaction which influence the development of PRMP.
  • The aim of this study was to describe the music practice of child instrumentalists and determine their associations with playing-related musculoskeletal problems (PRMP), accounting for gender and age
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  • Symptoms of performance anxiety are generally categorized into cognitive (e.g. catastrophic thoughts), behavioral (e.g. avoidance of performance/auditions) and physiological (e.g. dry mouth, shaking arms/hands, increased heart rate) (Plaut, 1990; Salmon, 1990).
  • Shoup (1995) reported performance anxiety negatively affected performance in 55% (234/425) junior high and high school instrumentalists.
  • Over a third of students (36%, 263) reported they experienced the feeling of butterflies most times to always when playing in a concert or competition (Table 1).
  • There was a significant association between gender and the experience of butterflies (χ2 = 32.32, df (4), p < .001) with more females reporting the experience of butterflies than males. There was a significant association between age and reported experience of the feeling of butterflies (F = 9.012, df (3), p < .001), with older children reporting the experience of butterflies more than younger children.
meghankelly492

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

  • 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
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  • 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
meghankelly492

The rise of creative youth development: Arts Education Policy Review: Vol 118, No 1 - 3 views

  • The article describes creative youth development in the larger contexts of arts education and of education reform.
  • Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.
  • Yet these two worlds largely exist apart, failing to address the reality that youth learn and grow—or fail to reach their potential—through influences and experiences in all spheres of their lives, including home, school, and the settings where they spend time outside of schoo
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  • attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking
  • such as heightened confidence and sense of agency
  • Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth
  • Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.
  • The creative process at the center of CYD programs contributes to profound personal growth for youth participants
  • And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”
  • community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat
  • hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.
  • impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities
  • She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (
  • Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—
meghankelly492

"Can't We Just Change the Words?": EBSCOhost - 1 views

  • The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.
  • However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity
  • The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.
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  • how does each author use authenticity as a strategy for making or justifying decisions in music education?
  • authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
  • since the original loses some of its essential qualities in a simplification.5
  • His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions
  • Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).
  • Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
  • Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
  • Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.
  • Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.
  • "World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.
Paul Beaufait

The purpose of aggregating bookmarks for the Diigo in Education group - 144 views

As somewhat of a Johnny-come-lately to this group, since hearing of new Diigo outline functionality AND planned deprecation of Diigo lists, I believed this group would focus on the transition in Di...

aggregations Diigo education groups purposes moderation noise-to-signal signal-to-noise tools

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