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anonymous

Using Mobile and Social Technologies in Schools - 51 views

  • n recent years, there has been explosive growth in students creating, manipulating, and sharing content online (National School Boards Association, 2007). Recognizing the educational value of encouraging such behaviors, many school leaders have shifted their energies from limiting the use of these technologies to limiting their abuse. As with any other behavior, when schools teach and set expectations for appropriate technology use, students rise to meet the expectations. Such conditions allow educators to focus on, in the words of social technology guru Howard Rheingold (n.d.), educating “children about the necessity for critical thinking and [encouraging] them to exercise their own knowledge of how to make moral choices." One process for creating the necessary conditions is reported in From Fear to Facebook, the first-person account of one California principal who endured a series of false starts to finally arrive at a place where students in his school were maximizing their use of laptops and participatory technologies without the constant distractions of misuse (Levinson, 2010). Other similar processes and programs are emerging, and they all share a common theme: an education that fails to account for the use of social media tools prepares students well for the past, but not for their future.
Glenn Hervieux

Content, Collaboration and Curation… | Tag... you're it! - 68 views

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    Kirsten Wilson (@teachwiki) shares how social media has provided the platform for educators (& others) to share, collaborate, & communicate, moving us from just being social to a community of learners. Curation is an important part of that process. She shares apps she uses to collect and share with others. I like how she includes several good questions to consider in the process.
Glenn Hervieux

A Principal's Reflections: The Limitations of Being a Disconnected Nomad - 8 views

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    "It seems like just yesterday that I was a disconnected nomad working hard to maintain the status quo and conform to a rigid system commonly known as education. You see, prior to 2009 I was adamantly opposed to even the thought of using social media for both personal and professional reasons. As a building level leader burdened by endless responsibilities, I could not fathom wasting even a precious minute in what I saw as a perpetual time sap. " Read the rest of this post to see how Eric discovered being connected on social media and engaging in conversations with passionate educators has transformed his work in education.
H DeWaard

Social Media Use in Schools - 47 views

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    Infographic outlines benefits of using social media in schools - stats; benefits for educators, parents, students; examples - FB, Pinterest, Blogger, Twitter; results from pilot program in Portland, Oregon.
tecno teach

Woodland, J. (2011) Psychology for the classroom: E-Learning. Oxon: Routledge - 4 views

    • tecno teach
       
      Chapter 4 - Pedagogy Motivation through the possible 'white heat of technology' - the newness. * Emotional engagement *Immediacy * Action Engagement * Cognitive Engagement - see the Hierarchy of Engagement on page 75. * Creative and Critical Thinking - Bono's Six Thinking Hats and Technology * Using VLEs * Social Interaction - Oliver and McLaughlin (1996) proposed five levels of teacher-learner interaction: social, procedural, expository, explanatory and cognitive. * Engagement * Assessment
    • tecno teach
       
      Chapter 2 - Theory: * Piaget's stages of cognitive development and technologies. * Skiiner's programmed learning theory - technology programmes that are task analysis, sequencing of learning and presentation of concepts through step by step positive reinforcement. * Wenger Communities of Practice * Gilly Salmon (2005) five-step model of levels of maturity in online environments: access and motivation/ online socialisation/ information exchange/ knowledge construction/ learner development. * GBL and Avatars discussed.
    • tecno teach
       
      Those against technology - Tanya Byron stating they technology is affecting children's minds.
    • tecno teach
       
      Changing attitudes whilst online - different identities - different ways some converse.
    • tecno teach
       
      * Motivation of learning - attention, confidence, satisfaction, appreciation and relevance
    • tecno teach
       
      Key aspects of book of relevance: * explains e-Learning - cybergogy (online pedagogy) * 3 modes of learning - expository, active and interactive * synchronous and asynchronous learning alongside cognitive and social natures of learning
  • grounding in both theory and pedagogical application
  • current research,
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  • s illustrative case studies
  • cybergogy
  • behaviourism, cognitivism and constructivism in the context of e-learning.
  • social networking;
  • cybergogy and new learning domains
Martin Burrett

Researchers claim that educational success among children of similar cognitive ability ... - 8 views

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    "Children of similar cognitive ability have very different chances of educational success; it still depends on their parents' economic, socio-cultural and educational resources. This contradicts a commonly held view that these days that our education system has developed enough to give everyone a fighting chance. The researchers, led by Dr. Erzsébet Bukodi from Oxford's Department of Social Policy and Intervention, looked at data from cohorts of children born in three decades: 1950s, 1970s and 1990s. They found significant evidence of a wastage of talent. Individuals with high levels of cognitive ability but who are disadvantaged in their social origins are persistently unable to translate their ability into educational attainment to the same extent as their more advantaged counterparts."
meghankelly492

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

  • 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
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  • 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."
Jeff Andersen

3 Strategies For Teaching Digital Wellness In Higher Education - 14 views

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    Every semester, professor Dr. Josie Ahlquist challenges her Leadership in the Digital Age students at Florida State University with a unique task. "Unplug from social-based platforms for 7 days," she says to a class of hesitant college students. Allowing room for negotiation, Dr. Ahlquist has seen her challenges run for as few as two days and as many as seven, and she requests that students document their experience throughout. The results showcase a facinating journey of self-discovery and reflection as these students shed social media for the duration of the challenge.
Martin Burrett

Is It for the Good of the Children or The Bank Balance? by @sheep2763 - 4 views

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    "The new code of practice has got rid of behaviour as a category and has replaced it with Social, Emotional and Mental Health Difficulties. This may be the cause of the child's difficulties but the manifestation is often in their challenging behaviour. Within school there are some families where their behaviour could almost be considered to have a genetic component. We appreciate that every child, even identical twins, are individuals and we always treat them as such. Today I wanted to refer a child who appears to have some Social, Emotional or Mental Health Difficulties to our Educational Psychologist. He wanted to have a chat about the child before accepting the referral, fair enough, I was happy to chat."
J C

Mashed Up Atlanta SEO - 4 views

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    Top SEO and Social Media marketing company in Atlanta Georgia. They are known for their reputation management and their local search results.
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    http://www.socialseomanagement.com please comment on the latest in atlanta seo and social media marketing "mashed up"...
Chema Falcó

¿Qué se puede y qué no se puede hacer en una red social? - revistaxq - 3 views

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    Sobre redes sociales, información, noticias falsas, comunicación cara a cara, uso de pantallas en la infancia, ....
Nigel Coutts

Filling a Gap in our Professional Learning Caused by Social Distancing - The Learner's Way - 13 views

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    As schools and organisations move to remote education, there are potential gaps in our professional learning of which we should be aware. While many of us are discovering fresh opportunities for online and remote professional learning through podcasts, webinars and online courses, one of the most significant aspects of our professional learning has been curtailed thanks to social distancing.
Marc Patton

Kids Online: A new research agenda for understanding social networking forums - 38 views

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    Kids Online: A new research agenda for understanding social networking forums
Roland Gesthuizen

T is for teaching - 27 views

  • He points out it is not just schools that block social media; many workplaces do so also. ''The safety and wellbeing of every student is a primary concern for schools and systems, and we shouldn't misinterpret good intentions around this.''
  • schools shouldn't underestimate the fact students are accessing social media on their phones at school anyway
  • Twitter encourages students to respond to each other's questions rather than accept he is the only one with the answers
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  • We have to tame social media to use it to advantage kids' learning
  • It's truly important that teachers today have a really good understanding of how young people learn, play and socialise outside their formal classroom
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    "CAMPBELL Walsh was sick of waiting for his NAPLAN test results. ''I wanted to know how I'd done. It had already been about four months and I still hadn't got the results,'' says the year 5 student from Aitken Creek Primary in the outer Melbourne suburb of Craigieburn. "
Amy Siegert

http://worldsavvy.org/assets/documents/uploads/Social_Action_Projects_overview.pdf - 44 views

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    This article thoroughly explains what a social action project is, the steps in creating one, and examples of them.
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