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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
Clint Heitz

ASCD Express 13.16 - The Keys to Content-Area Writing: Short, Frequent, and Shared - 17 views

www.ascd.org/...1316-steineke.aspx

writing writing-content-area

shared by Clint Heitz on 09 May 18 - No Cached
  • Examine your students' background knowledge on a new topic of study by asking them to write about it. Pass out index cards and instruct students to fill only one side with their related thoughts and experiences. Provide a minute to write followed by a minute to discuss their ideas with a nearby partner. Collect the cards and set them aside until the end of the unit. Then, ask students to revisit their original notes and, on the backs of their cards, describe how their thinking has expanded or changed on this issue. The initial card writing gives you an insight into background knowledge, while the final card writing offers students insight into their thinking and learning.
  • If we continue to believe that we must collect and grade every piece of student writing, our exhaustion will result in students writing far less. Sure, if necessary, we can award points, checks, or stamps, but these should simply be records of whether the students gave a good-faith effort (full credit) or not (no credit), not grades that attempt to assess the writing (Vopat, 2009).
  • Offer students an intriguing content-area prompt. For example, if the topic was e-waste, you might ask students to write about the importance of e-devices in their own lives or you might project a photograph of a mountain of discarded, obsolete cell phones. Let students think and write for a minute or two. Then, working with a partner, have each student read aloud what they wrote and discuss their ideas. Another very social writing activity is written conversation. Starting in groups of three or four, students silently respond to a content-related prompt, writing for several minutes until most class members have about a third or half a page of writing. Then, within the group, students pass their papers to their right. Now, each student must read the previous writer's thoughts and expand the conversation by exploring ideas and asking questions. After a few minutes of writing, papers are passed again, and the conversation continues to blossom as more and more ideas and responses are added. When the paper returns to the owner after several passes, each student gets to read a very interesting conversation that began with their initial written response. Of course, this written conversation could continue as an out-loud discussion, as well.
  • ...1 more annotation...
  • If you want students to be better readers, writers, and thinkers in every content area, then writing every day in every class is key. Be sure to make that informal and spontaneous writing short, frequent, and shared.
  • Clint Heitz on 09 May 18
     
    "Examine your students' background knowledge on a new topic of study by asking them to write about it. Pass out index cards and instruct students to fill only one side with their related thoughts and experiences. Provide a minute to write followed by a minute to discuss their ideas with a nearby partner. Collect the cards and set them aside until the end of the unit. Then, ask students to revisit their original notes and, on the backs of their cards, describe how their thinking has expanded or changed on this issue. The initial card writing gives you an insight into background knowledge, while the final card writing offers students insight into their thinking and learning."
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."
Mariusz Leś

The Nerdy Teacher: What Makes Project Based Learning Effective? #Edchat #EngChat - 132 views

www.thenerdyteacher.com/...es-project-based-learning.html

Edchat Twitter learning project

shared by Mariusz Leś on 28 Nov 11 - No Cached
  • Mariusz Leś on 28 Nov 11
     
    1. OWNERSHIP is key. For this project, the students were not listening to me on why Twain was or was not a racist, they were showing me and the rest of class what they thought. They were invested in winning their argument. They knew that their work was going to determine if he was guilty or not. Although I gave the assignment, the students were in charge the rest of the way. It was their project and they wanted to do it win. When students feel they own what they are doing, they will work harder. When the audience is larger, they want to impress everyone. These are not crazy ideas, they are the results of owning the work they are doing. OWNERSHIP is a major factor in the value of PBL. 2. CREATIVITY is the another major part of the PBL and is closely linked with OWNERSHIP. Students were allowed to be creative in their work as a lawyer or witness. Witnesses needed to stay within character, but could add their own elements on the witness stand. Allowing the students to create gives them a bigger sense of OWNERSHIP. 3. Another part of the PBL is the COLLABORATION. Students were working with each other trying to decide the best plan of attack. Witnesses would meet with their lawyers and discuss how the questions they were going to ask and how they should dress. The Jury worked on group projects researching the previous public opinions on Twain and his writing. Students were sharing ideas freely with one another. I had three sections of American Lit at the time, so I had three trails running. Lawyers would help others in the other classes and trash talk the opposing lawyers as well. It was all in good fun, but the collaboration had students working hard with one another to accomplish this goal. 4. Depending on how you set up your project, CRITICAL THINKING, is also an important part of PBL. With my Twain Trail, students needed to think about both sides of the argument. Students needed to prepare their witnesses for potential cross-examination questions. They needed to
Natalie Morris

Educational Leadership:Teaching Screenagers:Screenagers: Making the Connections - 78 views

www.ascd.org/...s@-Making-the-Connections.aspx

TechIntegration teaching screenagers

shared by Natalie Morris on 24 Feb 11 - No Cached
  • February 2011 | Volume 68 | Number 5 Teaching Screenagers     Pages 7-7 Screenagers: Making the Connections Marge Scherer "Education has to change. We can't pull kids into learning in school if they are engaged in a different world outside school." "If you don't know how to use technology in class, you are in trouble. But, of course, technology is a double-edged sword. You can use it poorly, or you can use it well." The principals speaking were two of the candidates for the ASCD Outstanding Young Educator Award, which will be presented in March at ASCD's Annual Conference in San Francisco. A group of us were interviewing 13 finalists—both administrators and teachers—over the course of a few weeks, and we were talking to them about their leadership, their creativity, their whole child philosophy, their impact on student achievement, and, of course, their technology use. All the educators spoke to us via Adobe ConnectPro, a two-way technology that allowed us to see, hear, and record them in their schools—whether in New York, Oregon, the Philippines, or places in between—while they viewed us in our meeting room in Alexandria, Virginia.
  • February 2011 | Volume 68 | Number 5 Teaching Screenagers     Pages 7-7 Screenagers: Making the Connections Marge Scherer "Education has to change. We can't pull kids into learning in school if they are engaged in a different world outside school." "If you don't know how to use technology in class, you are in trouble. But, of course, technology is a double-edged sword. You can use it poorly, or you can use it well." The principals speaking were two of the candidates for the ASCD Outstanding Young Educator Award, which will be presented in March at ASCD's Annual Conference in San Francisco. A group of us were interviewing 13 finalists—both administrators and teachers—over the course of a few weeks, and we were talking to them about their leadership, their creativity, their whole child philosophy, their impact on student achievement, and, of course, their technology use. All the educators spoke to us via Adobe ConnectPro, a two-way technology that allowed us to see, hear, and record them in their schools—whether in New York, Oregon, the Philippines, or places in between—while they viewed us in our meeting room in Alexandria, Virginia.
  • February 2011 | Volume 68 | Number 5 Teaching Screenagers     Pages 7-7 Screenagers: Making the Connections Marge Scherer "Education has to change. We can't pull kids into learning in school if they are engaged in a different world outside school." "If you don't know how to use technology in class, you are in trouble. But, of course, technology is a double-edged sword. You can use it poorly, or you can use it well." The principals speaking were two of the candidates for the ASCD Outstanding Young Educator Award, which will be presented in March at ASCD's Annual Conference in San Francisco. A group of us were interviewing 13 finalists—both administrators and teachers—over the course of a few weeks, and we were talking to them about their leadership, their creativity, their whole child philosophy, their impact on student achievement, and, of course, their technology use. All the educators spoke to us via Adobe ConnectPro, a two-way technology that allowed us to see, hear, and record them in their schools—whether in New York, Oregon, the Philippines, or places in between—while they viewed us in our meeting room in Alexandria, Virginia.
  • Natalie Morris on 24 Feb 11
     
    We'll take a look at this article tomorrow in our session.
Keith Rowley

Harvard Working Knowledge: Why Leaders Lose Their Way - Bill George - 1 views

www.billgeorge.org/...dge-why-leaders-lose-their-way

leadership meditation work career business

shared by Keith Rowley on 20 Jun 11 - No Cached
  • Leaders who lose their way are not bad people; rather, they lose their moral bearings
  • we all have the capacity for actions we deeply regret unless we stay grounded.
  • Self-reflection: a path to leadership development
  • ...16 more annotations...
  • narcissistic wounds from childhood.
    • Keith Rowley
      Keith Rowley on 20 Jun 11
       
      Their "crucibles." Or, as Eckhard Tolle calls it, "pain bodies".
  • What's the purpose of my leadership?
  • Why do I want to lead?
  • Often they reject the honest critic who speaks truth to power.
  • these problems are neither their fault nor their responsibility. Or they look for scapegoats to blame for their problems. Using their power, charisma, and communications skills, they force people to accept these distortions, causing entire organizations to lose touch with reality. At this stage leaders are vulnerable to making big mistakes, such as violating the law or putting their organizations' existence at risk. Their distortions convince them they are doing nothing wrong, or they rationalize that their deviations are acceptable to achieve a greater good.
    • Keith Rowley
      Keith Rowley on 20 Jun 11
       
      George W Bush!
  • Values-centered leadership
  • Leaders can avoid these pitfalls by devoting themselves to personal development that cultivates their inner compass, or True North.
  • reframing their leadership from being heroes to beingservants of the people they lead.
    • Keith Rowley
      Keith Rowley on 20 Jun 11
       
      Values-centerd leaders are "Go-Givers"
  • Leaders can avoid these pitfalls by devoting themselves to personal development that cultivates their inner compass, or True North. This requires reframing their leadership from being heroes to beingservants of the people they lead.
  • discipline
    • Keith Rowley
      Keith Rowley on 20 Jun 11
       
      Meditation is a good discipline to practice.
  • meditation
  • A system to support values-centered leadership The reality is that people cannot stay grounded by themselves. Leaders depend on people closest to them to stay centered. They should seek out people who influence them in profound ways and stay connected to them. Often their spouse or partner knows them best.
  • rue North Groups
    • Keith Rowley
      Keith Rowley on 20 Jun 11
       
      What is this???
  • Spouses and partners can't carry this entire burden though. We need mentors
  • heir choices don't matter, as long as they relieve stress and enable them to think clearly about work and personal issues.
  • Surround yourselves with people who will be honest with you about how you really are and what you are becoming, and then make them promise to not hold back… from telling you the truth."
  • Keith Rowley on 20 Jun 11
     
    Values-centered leadership. Bill George is great!
Doreen Stopczynski

20 reasons why students should blog | On an e-journey with generation Y - 181 views

murcha.wordpress.com/...asons-why-students-should-blog

students education technology web2.0

shared by Doreen Stopczynski on 29 Sep 10 - Cached
  • It is FUN! Fun!….. I hear your sceptical exclamation!! However, it is wonderful when students think they are having so much fun, they forget that they are actually learning. A favourite comment on one of my blog posts is: It’s great when kids get so caught up in things they forget they’re even learning…   by jodhiay authentic audience – no longer working for a teacher who checks and evalutes work but  a potential global audience. Suits all learning styles – special ed (this student attends special school 3days per weeek, our school 2 days per week, gifted ed, visual students, multi-literacies plus ‘normal‘ students. Increased motivation for writing – all students are happy to write and complete aspects of the post topic. Many will add to it in their own time. Increased motivation for reading – my students will happily spend a lot of time browsing through fellow student posts and their global counterparts. Many have linked their friends onto their blogroll for quick access. Many make comments, albeit often in their own sms language. Improved confidence levels – a lot of this comes through comments and global dots on their cluster maps. Students can share their strengths and upload areas of interest or units of work eg personal digital photography, their pets, hobbies etc Staff are given an often rare insight into what some students are good at. We find talents that were otherwise unknown and it allows us to work on those strengths. It allows staff to often gain insight to how students are feeling and thinking. Pride in their work – My experience is that students want their blogs to look good in both terms of presentation and content. (Sample of a year 10 boy’s work) Blogs allow text, multimedia, widgets, audio and images – all items that digital natives want to use Increased proofreading and validation skills Improved awareness of possible dangers that may confront them in the real world, whilst in a sheltered classroom environment Ability to share – part of the conceptual revolution that we are entering. They can share with each other, staff, their parents, the community, and the globe. Mutual learning between students and staff and students. Parents with internet access can view their child’s work and writings – an important element in the parent partnership with the classroom. Grandparents from England have made comments on student posts. Parents have ‘adopted’ students who do not have internet access and ensured they have comments. Blogs may be used for digital portfolios and all the benefits this entails Work is permanently stored, easily accessed and valuable comparisons can be made over time for assessment and evaluation purposes Students are digital natives - blogging is a natural element of this. Gives students a chance  to show responsibility and trustworthiness and engenders independence. Prepares students for digital citizenship as they learn cybersafety and netiquette Fosters peer to peer mentoring. Students are happy to share, learn from and teach their peers (and this, often not their usual social groups) Allows student led professional development and one more…… Students set the topics for posts – leads to deeper thinking
  • Doreen Stopczynski on 20 Oct 10
     
    Good reasons to allow student blogging Point being if it's fun they will love doing it, while enriching their knowledge at the same time.\nA great slant on multitasking.
Robert Parker

Andragogy - Wikipedia, the free encyclopedia - 36 views

en.wikipedia.org/Andragogy

shared by Robert Parker on 23 Sep 11 - Cached
  • Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term ‘andragogy’ has been used in different times and countries with various connotations
  • Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be responsible for their decisions on education; involvement in the planning and evaluation of their instruction (Self-concept). Adults are most interested in learning subjects having immediate relevance to their work and/or personal lives (Readiness). Adult learning is problem-centered rather than content-oriented (Orientation). Adults respond better to internal versus external motivators (Motivation). The term has been used by some to allow discussion of contrast between self-directed and 'taught' education
    • GoldenLuca Oake
      GoldenLuca Oake on 08 Oct 12
       
      Andragogy - man-leading as in leading man Pedagogy - child-leading as in leading children
    • Robert Parker
      Robert Parker on 15 Sep 13
       
      I like this term, it reflects much of waht happens in higher education as the springboard for life-long learning
  • maureen greenbaum on 23 Sep 11
     
    Andragogy From Wikipedia, the free encyclopedia Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term 'andragogy' has been used in different times and countries with various connotations. Nowadays there exist mainly three understandings: 1. In many countries there is a growing conception of 'andragogy' as the scholarly approach to the learning of adults. In this connotation andragogy is the science of understanding (= theory) and supporting (= practice) lifelong and lifewide education of adults. 2. Especially in the USA, 'andragogy' in the tradition of Malcolm Knowles, labels a specific theoretical and practical approach, based on a humanistic conception of self-directed and autonomous learners and teachers as facilitators of learning. 3. Widely, an unclear use of andragogy can be found, with its meaning changing (even in the same publication) from 'adult education practice' or 'desirable values' or 'specific teaching methods,' to 'reflections' or 'academic discipline' and/or 'opposite to childish pedagogy', claiming to be 'something better' than just 'Adult Education'. The oldest document using the term "Andragogik": Kapp, Alexander (1833): Platon's Erziehungslehre, als Pädagogik für die Einzelnen und als Staatspädagogik. Leipzig. Originally used by Alexander Kapp (a German educator) in 1833, andragogy was developed into a theory of adult education by the American educator Malcolm Knowles. Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be
  • ...2 more comments...
  • Lauren Rosen on 23 Sep 11
     
    Really not seeing the difference in how children and adults learn here. I have heard the term first about 20 or more years ago. From this definition the principals behind it are no different from those behind what a good learning environment is for all ages. What changes is the content not that the student, regardless of age, leads in their own learning facilitated by a trained practitioner.
  • Maughn Gregory on 23 Sep 11
     
    "Andragogy" is another sexist term, using "andro" = male to stand for all humanity. Why wouldn't it by called "Gynogogy"? Can't we use a different term? Bring the concept up-do-date from 1833?
  • GoldenLuca Oake on 08 Oct 12
     
    Andragogy From Wikipedia, the free encyclopedia Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term 'andragogy' has been used in different times and countries with various connotations. Nowadays there exist mainly three understandings: 1. In many countries there is a growing conception of 'andragogy' as the scholarly approach to the learning of adults. In this connotation andragogy is the science of understanding (= theory) and supporting (= practice) lifelong and lifewide education of adults. 2. Especially in the USA, 'andragogy' in the tradition of Malcolm Knowles, labels a specific theoretical and practical approach, based on a humanistic conception of self-directed and autonomous learners and teachers as facilitators of learning. 3. Widely, an unclear use of andragogy can be found, with its meaning changing (even in the same publication) from 'adult education practice' or 'desirable values' or 'specific teaching methods,' to 'reflections' or 'academic discipline' and/or 'opposite to childish pedagogy', claiming to be 'something better' than just 'Adult Education'. The oldest document using the term "Andragogik": Kapp, Alexander (1833): Platon's Erziehungslehre, als Pädagogik für die Einzelnen und als Staatspädagogik. Leipzig. Originally used by Alexander Kapp (a German educator) in 1833, andragogy was developed into a theory of adult education by the American educator Malcolm Knowles. Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be
  • Robert Parker on 15 Sep 13
     
    Andragogy From Wikipedia, the free encyclopedia Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term 'andragogy' has been used in different times and countries with various connotations. Nowadays there exist mainly three understandings: 1. In many countries there is a growing conception of 'andragogy' as the scholarly approach to the learning of adults. In this connotation andragogy is the science of understanding (= theory) and supporting (= practice) lifelong and lifewide education of adults. 2. Especially in the USA, 'andragogy' in the tradition of Malcolm Knowles, labels a specific theoretical and practical approach, based on a humanistic conception of self-directed and autonomous learners and teachers as facilitators of learning. 3. Widely, an unclear use of andragogy can be found, with its meaning changing (even in the same publication) from 'adult education practice' or 'desirable values' or 'specific teaching methods,' to 'reflections' or 'academic discipline' and/or 'opposite to childish pedagogy', claiming to be 'something better' than just 'Adult Education'. The oldest document using the term "Andragogik": Kapp, Alexander (1833): Platon's Erziehungslehre, als Pädagogik für die Einzelnen und als Staatspädagogik. Leipzig. Originally used by Alexander Kapp (a German educator) in 1833, andragogy was developed into a theory of adult education by the American educator Malcolm Knowles. Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be
anonymous

What are the Disadvantages of Online Schooling for Higher Education? - 18 views

study.com/...ling_for_Higher_Education.html

online disadvantages

shared by anonymous on 23 Oct 16 - No Cached
  • anonymous on 23 Oct 16
     
    "hat Are the Disadvantages of Online Schooling for Higher Education? Today, online schooling for higher education is prevalent across many fields. While there are several benefits to online schooling, such as flexibility and convenience, there are also real and perceived disadvantages. Explore some of the potential drawbacks of online learning. View 10 Popular Schools » Online Schooling In 2012, about a quarter of undergraduate college students were enrolled in distance education courses as part -- if not all -- of their studies, according to a 2014 report from the National Center for Education Statistics. That same data found that 29.8% of graduate students in this country are enrolled in some or all distance learning classes as well. A 2013 report from Babson Survey Research Group and Quahog Research Group, LLC, pointed out that approximately 86.5% of higher education institutions offer distance learning classes. Clearly, online schooling is commonplace. Disadvantages: Student Perspective Despite advantages, online schooling is not the right fit for every student. Taking online courses is generally believed to require more self-discipline than completing a degree on campus, a belief that is supported by SCHEV -- the State Council of Higher Education for Virginia. Because online schooling options often allow students to complete much of the coursework at their own pace, students must be motivated to stay on schedule and manage their time accordingly. Other potential disadvantages from a student's viewpoint may include the following: Less Instructional Support Although instructors are available to students via e-mail, telephone, Web discussion boards and other online means, some students may see the lack of face-to-face interaction and one-on-one instruction as a challenge. A lack of communication or miscommunication between instructors and students may frustrate students who are struggling with course materials. That could be exacerbated by the casual nature
Florence Dujardin

Online Game Teaches Citation Skills - The Chronicle of Higher Education - 131 views

chronicle.com/...28837

highered literature review citing game

shared by Florence Dujardin on 11 Jan 11 - No Cached
  • Florence Dujardin on 11 Jan 11
     
    The game, BiblioBouts, turns collecting citations into a competitive event, pitting students against their classmates. Students are rewarded for their research skills and their ability to differentiate between good and bad material. To play, they find sources, which are judged by their peers for relevance and credibility, and then measure the worth of sources their classmates find. They gain more points the more sources they assess accurately and the better their own sources are judged.
Steven Parker

Does Facebook generation care if privacy is dying? - Opinion - Belfasttelegraph.co.uk - 26 views

www.belfasttelegraph.co.uk/...privacy-is-dying-14919709.html

communitarianism hivemind socialsoftware privacy facebook exploitation

shared by Steven Parker on 22 Aug 10 - Cached
  • Steven Parker on 22 Aug 10
     
    Excellent opinion piece articulating the implications of the loss of privacy for individuals who put their personal data out into world in particular the surrendering of their sense of offline individuality to being a small part of a larger online community of people whereby their personal identity is reflected in their standing as part of an online network.
  • Steven Parker on 22 Aug 10
     
    Excellent opinion piece articulating the implications of the loss of privacy for individuals who put their personal data out into world in particular the surrendering of their sense of offline individuality to being a small part of a larger online community of people whereby their personal identity is reflected in their standing as part of an online network.
BalancEd Tech

Sowing the Seeds for a More Creative Society - 42 views

web.media.mit.edu/...Learning-Leading-final.pdf

Creativity Play Design Scratch

shared by BalancEd Tech on 12 Feb 10 - No Cached
  • BalancEd Tech on 12 Feb 10
     
    "the "creative thinking spiral." In this pro- cess, people imagine what they want to do, create a project based on their ideas, play with their creations, share their ideas and creations with others, and reflect on their experiences-all of which leads them to imagine new ideas and new projects. As students go through this process, over and over, they learn to develop their own ideas, try them out, test the boundaries, experiment with alternatives, get input from others, and generate new ideas based on their experiences."
Jess Hazlewood

"Where's the Writer" TETYC March 2014 - 43 views

DIIGO_FILE_HOME/1dj8a/b5ju

shared by Jess Hazlewood on 03 Sep 14 - No Cached
  • “Responders Are Taught, Not Born”
  • We contend that student writers will see greater value in peer response if they develop tools that allow them to participate more actively in the feedback process. With teaching suggestions like those above, writers can learn how to re-flect on their experiences with peer response. They can also learn to identify their needs as writers and how to ask questions that will solicit the feedback they need.
  • We like to limit each mock session to no more than seven minutes of back and forth between respondent and writer.
  • ...33 more annotations...
  • class suggests that the writer’s question
  • This becomes a teachable moment. When the respondent asks for assistance from the class, this break in the session becomes an opportunity for the class to assist the writer and the respondent. The writer appears stuck, not knowing what to ask. And the respondent appears perplexed, too.
  • we follow Carl Anderson’s suggestion to teach students how to ask questions about their writing through role-playing.
  • dynamic list that students freely update throughout the semester on the class classro
  • organize the questions within categories such as tone, content, evidence-based support, style, and logistics
  • The end result is a robust list of questions for writers to ask of their respondents.
  • in-class discussion about effective and less effective questions for writers
  • raft three to five questions they have about the assignment to ask of their peers as they prepare to write or revise their assignment. When appropriate, we can direct our students to the course text, where there are
  • : pointing, summarizing, and reflecting
  • Students’ comments often point to their struggle to position themselves in peer response.
  • “What would it take for you to be in-vested as writers in peer response?” Students’ typical responses include the following:>“I need to know what to ask.” >“I don’t know what to ask about my writing, except for things like punctua-tion and grammar.”>“Does the person reading my work really know what the assignment is? Bet-ter than I do?”>“I’m not really sure if I’m supposed to talk or ask questions when someone is giving me feedback about my work, so I don’t really do anything. They write stuff on my paper. Sometimes I read it if I can, but I don’t really know what to do with it.”
  • it is important to offer activities to ensure that both respondents and writers are able to articulate a clear purpose of what they are trying to accomplish. These activities, guided by the pedagogies used to prepare writing center consultants
  • devote more attention to the respondent than to the writer, we may unwit-tingly be encouraging writers to be bystanders, rather than active participants, in the response process.
  • , “Feedback: What Works for You and How Do You Get It?”
  • highlight the value of both giving and getting feedback:In 56 pages near the end of this book, we’ve explained all the good methods we know for getting feedback from classmates on your writing. . . . The ability to give responses to your classmates’ writing and to get their responses to your own writing may be the most important thing you learn from this book. (B
  • we question whether textbooks provide emergent writers with enough tools or explicit models to engage actively in peer response conversations.
  • While such questions are helpful to emerging writers, who depend on modeling, they lack explanation about what makes them “helpful” questions. As a result, emerging writers may perceive them as a prescriptive set of questions that must be answered (or worse, a set of questions to be “given over” to a respondent), rather than what they are intended to be: questions that could advance the writer’s thoughts and agenda.
  • this information is limited to the instructor’s manual
  • llustrates the difference be-tween vague and helpful questions, pointing out that helpful questions
  • You will need to train students to ask good questions, which will help reviewers target their attention.Questions like “How can I make this draft better?” “What grade do you think this will get?” and “What did you think?” are not helpful, as they are vague and don’t reflect anything about the writer’s own thoughts. Questions like “Am I getting off topic in the introduction when I talk about walking my sister to the corner on her first day of school?” or “Does my tone on page 3 seem harsh? I’m trying to be fair to the people who disagree with the decision I’m describing” help readers understand the writer’s purpose and will set up good conversations. (Harrington 14, emphasis added
  • uestions” when soliciting feedback (like the advice we found in many textbooks), she also provides explicit examples for doing so
  • he most explicit advice for writers about ask-ing questions and, in effect, setting up good conversations is buried in an instruc-tor’s manual for The Allyn & Bacon Guide to Writing. In thi
  • “Getting Response” chapter later in the book, they will benefit from the textbook authors’ instructions that they should in fact use questions that will help them solicit their feedback
  • dependent on what parts of the textbook they choose to read
  • point writers to a specific set of questions that they should ask of their respondents. Such instructions take a notable step toward shifting the locus of control from the respondent to helping writers engage their peers in conversation.
  • there is no mention that writers might use them for purposes of soliciting feedback.
  • we see an opportunity for modeling that is not fully realized.
  • we argue that Faigley offers respondents specific examples that empower them to actively engage the process and give feedback. We contend that emergent writers need a similar level of instruction if they are to be agents in response.
  • textbook authors offer few examples for how to get specific feedback
  • Peter Elbow and Pat Belanoff ’s first edition of A Community of Writers published in 1995, in which eleven “Sharing and Responding” techniques, d
  • we worked to understand how textbooks highlight the writer’s role in peer response.
  • We wanted to know what books tell writers about asking questions
  • lthough we do not discount the importance of teaching respondents how to give feedback, we argue that writers must also be taught how to request the feedback they desire.
  • Jess Hazlewood on 03 Sep 14
     
    Writer's role in soliciting feedback during peer edit. Suggestions for modeling and training.
Martin Leicht

Distracted Minds: 3 Ways to Get Their Attention in Class - 11 views

www.chronicle.com/...o-get-their-attention-in-class

shared by Martin Leicht on 12 Jan 21 - No Cached
  • Attention is reciprocal.
  • The more distracted I am in my interactions with you, the less likely you are to give me your full attention.
  • importance of having students share their strengths and values with you at the beginning of a semester
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Everyone is their own individual and bring a lot to your class. The more you know about them, the better chance you can find out how to motivate them.
  • ...13 more annotations...
  • Recognize their individuality
  • The researchers also asked students whether it mattered to them that the instructors knew their names, and more than 85 percent of them said it did
  • because making good use of the full physical space of a classroom is one of the most straightforward ways to keep both professor and students attentive.
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - I taught from the back. We showed a lot of videos and did demonstrations. So, it was easy to "teach" from the back. ON ZOOM - how do you teach from the back of the class?
  • One advantage of the Zoom classes that many of us are teaching right now is that the names are all right there on the screen
  • Speak to all corners of the room
  • They bring their unique life stories and experiences, which can help provide new perspectives on familiar questions and challenges.
  • Tell you about an important value
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Maybe it doesn't need to be all writing? Maybe it can be images and audio or video recordings to accompany them.
  • Tell you about a unique perspective or life experience
  • Describe their greatest academic strength
  • The obvious solution here is to break that barrier
  • Use their names regularly.
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Notoriety means power or maybe at least the power to capture their attention.
  • She encourages children first to recognize and write their own names and then to compare the letters and syllables in their own names with those of the other names on the grid
    • Martin Leicht
      Martin Leicht on 12 Jan 21
       
      NOTE - Author's previous post about CLOSE READING. Really spend some time on the name.
  • What is most deserving of our attention in the classroom, of course, are the other human beings in our presence
tapiatanova

A Social Network Can Be a Learning Network - The Digital Campus - The Chronicle of High... - 98 views

chronicle.com/...129609

social network sociallearning Social Media learning education millenials socialnetworking socialbookmarking pln ple optometry

shared by tapiatanova on 08 Nov 11 - No Cached
Kate Pok liked it
  • Sharing student work on a course blog is an example of what Randall Bass and Heidi Elmendorf, of Georgetown University, call "social pedagogies." They define these as "design approaches for teaching and learning that engage students with what we might call an 'authentic audience' (other than the teacher), where the representation of knowledge for an audience is absolutely central to the construction of knowledge in a course."
    • trisha_poole
      trisha_poole on 08 Nov 11
       
      Very important - social pedagogies for authentic tasks - a key for integrating SNTs in the classroom.
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      Agreed, for connectivism see also www.connectivism.ca
  • External audiences certainly motivate students to do their best work. But students can also serve as their own authentic audience when asked to create meaningful work to share with one another.
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      The last sentence is especially important in institutional contexts where the staff voices their distrust against "open scholarship" (Weller 2011), web 2.0 and/or open education. Where "privacy" is deemed the most important thing in dealing with new technologies, advocates of an external audience have to be prepared for certain questions.
    • tapiatanova
      tapiatanova on 03 Jan 14
       
      yes! nothing but barriers! However, it is unclear if the worries about pravacy are in regards to students or is it instructors who fear teaching in the open. everyone cites FERPA and protection of student identities, but I have yet to hear any student refusing to work in the open...
  • Students most likely won't find this difficult. After all, you're asking them to surf the Web and tag pages they like. That's something they do via Facebook every day. By having them share course-related content with their peers in the class, however, you'll tap into their desires to be part of your course's learning community. And you might be surprised by the resources they find and share.
  • ...9 more annotations...
  • back-channel conversations
  • While keynote speakers and session leaders are speaking, audience members are sharing highlights, asking questions, and conversing with colleagues on Twitter
    • trisha_poole
      trisha_poole on 08 Nov 11
       
      An effective use of Twitter that can be translated to classrooms.
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      All classrooms?
    • John Dorn
      John Dorn on 09 Nov 11
       
      classrooms where students are motivated to learn. Will this work in a HS classroom where kids just view their phones as a means to check up on people? Maybe if they can see "cool" class could be if they were responsible for the freedoms that would be needed to use twitter or other similar sites.
  • Ask your students to create accounts on Twitter or some other back-channel tool and share ideas that occur to them in your course. You might give them specific assignments, as does the University of Connecticut's Margaret Rubega, who asks students in her ornithology class to tweet about birds they see. During a face-to-face class session, you could have students discuss their reading in small groups and share observations on the back channel. Or you could simply ask them to post a single question about the week's reading they would like to discuss.
  • A back channel provides students a way to stay connected to the course and their fellow students. Students are often able to integrate back channels into their daily lives, checking for and sending updates on their smartphones, for instance. That helps the class become more of a community and gives students another way to learn from each other.
  • Deep learning is hard work, and students need to be well motivated in order to pursue it. Extrinsic factors like grades aren't sufficient—they motivate competitive students toward strategic learning and risk-averse students to surface learning.
  • Social pedagogies provide a way to tap into a set of intrinsic motivations that we often overlook: people's desire to be part of a community and to share what they know with that community.
  • Online, social pedagogies can play an important role in creating such a community. These are strong motivators, and we can make use of them in the courses we teach.
  • The papers they wrote for my course weren't just academic exercises; they were authentic expressions of learning, open to the world as part of their "digital footprints."
    • Daniel Spielmann
      Daniel Spielmann on 09 Nov 11
       
      Yes, but what is the relation between such writing and ("proper"?) academic writing?
  • Collaborative documents need not be text-based works. Sarah C. Stiles, a sociologist at Georgetown, has had her students create collaborative timelines showing the activities of characters in a text, using a presentation tool called Prezi.com. I used that tool to have my cryptography students create a map of the debate over security and privacy. They worked in small groups to brainstorm arguments, and contributed those arguments to a shared debate map synchronously during class.
  • Daniel Spielmann on 09 Nov 11
     
    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
  • John Dorn on 09 Nov 11
     
    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
  • tapiatanova on 03 Jan 14
     
    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
Mrs. Lail2

How Self-Expression Damaged My Students - Robert Pondiscio - The Atlantic - 47 views

www.theatlantic.com/...262656

education English Writing

shared by Mrs. Lail2 on 25 Sep 12 - No Cached
  • But good writers don't just do stuff. They know stuff. They have knowledge of the world that enlivens their prose and provides the ability to create examples and analogies. They have big vocabularies and solid command of the conventions of language and grammar. And if this is not explicitly taught, it will rarely develop by osmosis among children who do not grow up in language-rich homes.
  • But good writers don't just do stuff. They know stuff. They have knowledge of the world that enlivens their prose and provides the ability to create examples and analogies. They have big vocabularies and solid command of the conventions of language and grammar. And if this is not explicitly taught, it will rarely develop by osmosis among children who do not grow up in language-rich homes.
  • But good writers don't just do stuff. They know stuff. They have knowledge of the world that enlivens their prose and provides the ability to create examples and analogies. They have big vocabularies and solid command of the conventions of language and grammar. And if this is not explicitly taught, it will rarely develop by osmosis among children who do not grow up in language-rich homes.
  • ...7 more annotations...
  • But good writers don't just do stuff. They know stuff. They have knowledge of the world that enlivens their prose and provides the ability to create examples and analogies. They have big vocabularies and solid command of the conventions of language and grammar. And if this is not explicitly taught, it will rarely develop by osmosis among children who do not grow up in language-rich homes.
  • But good writers don't just do stuff. They know stuff. They have knowledge of the world that enlivens their prose and provides the ability to create examples and analogies. They have big vocabularies and solid command of the conventions of language and grammar. And if this is not explicitly taught, it will rarely develop by osmosis among children who do not grow up in language-rich homes.
  • But good writers don't just do stuff. They know stuff. They have knowledge of the world that enlivens their prose and provides the ability to create examples and analogies. They have big vocabularies and solid command of the conventions of language and grammar. And if this is not explicitly taught, it will rarely develop by osmosis among children who do not grow up in language-rich homes.
  • But good writers don't just do stuff. They know stuff. They have knowledge of the world that enlivens their prose and provides the ability to create examples and analogies. They have big vocabularies and solid command of the conventions of language and grammar. And if this is not explicitly taught, it will rarely develop by osmosis among children who do not grow up in language-rich homes.
  • But good writers don't just do stuff. They know stuff. They have knowledge of the world that enlivens their prose and provides the ability to create examples and analogies. They have big vocabularies and solid command of the conventions of language and grammar. And if this is not explicitly taught, it will rarely develop by osmosis among children who do not grow up in language-rich homes.
  • But good writers don't just do stuff. They know stuff. They have knowledge of the world that enlivens their prose and provides the ability to create examples and analogies. They have big vocabularies and solid command of the conventions of language and grammar. And if this is not explicitly taught, it will rarely develop by osmosis among children who do not grow up in language-rich homes.
  • But good writers don't just do stuff. They know stuff. They have knowledge of the world that enlivens their prose and provides the ability to create examples and analogies. They have big vocabularies and solid command of the conventions of language and grammar. And if this is not explicitly taught, it will rarely develop by osmosis among children who do not grow up in language-rich homes.
Roland Gesthuizen

The Innovative Educator: Think you're a Digital Immigrant? Get Over It! - 103 views

theinnovativeeducator.blogspot.com/...igital-immigrant-get-over.html

digitalcitizenship PLN learning professional technology blog elearning education

shared by Roland Gesthuizen on 27 Oct 10 - No Cached
  • educators hesitant to use the modern tools of today, to stop relying on others and take ownership of their learning and suggests this can be done through developing a personal learning network
  • educators must take ownership of their learning rather than waiting for/relying on others to provide it.
  • Teachers do not need to be technology experts to allow students to use it to retrieve information, collaborate, create, and communicate
  • Roland Gesthuizen on 27 Oct 10
     
    There is less tolerance for educators who do not believe it is their responsibility to move their teaching out of the past. Those stuck in the past... those who are not developing their own personal learning networks... those not taking ownership for their learning... are doing a great disservice to our students and themselves.
Josh Flores

TODAYMoms - Should parents be blamed when kids fail at school? - 106 views

moms.today.com/...lamed-when-kids-fail-at-school

news resources should parents

shared by Josh Flores on 23 May 11 - No Cached
    • Josh Flores
      Josh Flores on 23 May 11
       
      Who the heck would click "NO"???
    • Josh Flores
      Josh Flores on 24 May 11
       
      Parents should be held accountable, teachers should be held accountable AND students should be held accountable.
    • Josh Flores
      Josh Flores on 24 May 11
       
      from Lynn Jones (to me?) "How many children do you have? I am an educator and I have 6 children who are all different. My second child, a son, was never told to study, never had a spelling word called out to him, and strieved to make all A's and B's since the 2nd grade. His older brother with an IQ of 128 in the 5th grade didn't care about grades and passing. His younger brother almost graduated high school before him even though they were 3 years apart in age. The oldest son has ADHD. His grandmother was a math teacher and I am a math teacher, but yet that was the subject he failed almost each year and had to go to summer school. He had the same parents and the same environment as his younger brother, but he was lacking the drive that is born in you. I won't go into the differences of the other 4 just to say that the good Lord gifted me with 3 ADHD children when not much was known about it (the oldest is 44). Every child is different and parents must learn not to judge one by the others, just like teachers must not assume that about siblings they teach. A parent can be their to help and try to point them in the right direction with the right work ethics in school, but the bottom line is how much the child cares and wants to achieve. The envolved parent can help the child that sits on the fence and can go on either side, but the ultimate choice is going to be the child's. It is the same with church. You can take the child to church every Sunday, but when they get older it is their decision how to direct their life. I am not saying that a parent shouldn't try every day to give the guidance their children need and deserve, but you can't beat yourself up when things don't go the way you think they should. All a parent can do is standby their child and give them all the love they can and to know that sometimes that is not enough for the child."
    • Josh Flores
      Josh Flores on 24 May 11
       
      My Reply to Lynn Jones: 1. Parents should be held accountable along with teachers and the students themselves. 2. Six kids????? You are a saint! I plan on having two at the most and pray to the gods they're not girls! 3. Is there a specific reason you sent me your family history?
    • Josh Flores
      Josh Flores on 24 May 11
       
      From Lynn: "I sent you the history to show that no two children are alike and not to judge one child by the behavior of another. In education we teach all types and there is no one way to approach all children. Sometimes it is not the parent that can make a difference, but someone else and not always a teacher."
    • Josh Flores
      Josh Flores on 24 May 11
       
      I don't think the article is about differentiation but sure, I'm confident it's in the back of any high quality educator's mind. Regardless, we can always do more than standby our kids. 
  • Lynn Jones on 24 May 11
     
    How many children do you have? I am an educator and I have 6 children who are all different. My second child, a son, was never told to study, never had a spelling word called out to him, and strieved to make all A's and B's since the 2nd grade. His older brother with an IQ of 128 in the 5th grade didn't care about grades and passing. His younger brother almost graduated high school before him even though they were 3 years apart in age. The oldest son has ADHD. His grandmother was a math teacher and I am a math teacher, but yet that was the subject he failed almost each year and had to go to summer school. He had the same parents and the same environment as his younger brother, but he was lacking the drive that is born in you. I won't go into the differences of the other 4 just to say that the good Lord gifted me with 3 ADHD children when not much was known about it (the oldest is 44). Every child is different and parents must learn not to judge one by the others, just like teachers must not assume that about siblings they teach. A parent can be their to help and try to point them in the right direction with the right work ethics in school, but the bottom line is how much the child cares and wants to achieve. The envolved parent can help the child that sits on the fence and can go on either side, but the ultimate choice is going to be the child's. It is the same with church. You can take the child to church every Sunday, but when they get older it is their decision how to direct their life. I am not saying that a parent shouldn't try every day to give the guidance their children need and deserve, but you can't beat yourself up when things don't go the way you think they should. All a parent can do is standby their child and give them all the love they can and to know that sometimes that is not enough for the child.
  • Lynn Jones on 24 May 11
     
    I sent you the history to show that no two children are alike and not to judge one child by the behavior of another. In education we teach all types and there is no one way to approach all children. Sometimes it is not the parent that can make a difference, but someone else and not always a teacher.
Peter Beens

Education Week Teacher: Teaching Secrets: Communicating With Parents - 1 views

www.edweek.org/...tillery.html

teachers tips communication parents

shared by Peter Beens on 23 Jun 11 - No Cached
  • Peter Beens on 23 Jun 11
     
    Teaching Secrets: Communicating With Parents By Gail Tillery Premium article access courtesy of TeacherMagazine.org. You will face many challenging tasks as a new teacher. Dealing with parents is probably among the most intimidating, especially if you are young and in your first career. While communicating with parents can be tricky, a little preparation will help you to treat parents as partners and to be calmer when problems arise. Here's the first rule to live by: Your students' parents are not your enemies. Ultimately, they want the same thing you want, which is the best for their children. By maintaining respectful and productive communication, you can work together to help students succeed. Second, whenever problems arise, remember that parents are probably just as nervous about contacting you as you are about returning the contact-and maybe more so. I'll confess: Even after 26 years of teaching, I still get a little frisson of fear in my belly when I see an e-mail or hear a voicemail from a parent. But I have seen time and again that parents are often more nervous than the teacher is-especially if their child doesn't want them to contact the teacher. Indeed, some parents may even fear that if they raise concerns, their child will face some kind of retaliation. Remember that parents' tones or words may reflect such fears. In your response, try to establish that everyone involved wants to help the child. Here are some practical tips for communicating effectively with parents: Contact every parent at the beginning of the year. Do some "recon." Telephone calls are best for this initial contact, since they are more personal than e-mail. Ask the parent to tell you about his or her child's strengths, weaknesses, likes, dislikes, etc. Make sure to ask, "What is the best thing I can do to help your child succeed?" Remember to take notes! Once you've gathered the information you need, set a boundary with parents by saying, "Well, Ms. Smith, I have 25 more parent
Deborah Baillesderr

Math Shake on the App Store on iTunes - 58 views

itunes.apple.com/...id900783507

math app problemsolving word problems

shared by Deborah Baillesderr on 11 Dec 14 - No Cached
  • Deborah Baillesderr on 11 Dec 14
     
    "We all know that students find it far more challenging to answer word problems than simple equations. In Math Shake, learners practise the vital skill of solving word problems in a fun, focused way. Learners engage their critical thinking skills as they use the keywords to change word problems into equations and use interactive learning tools to visualise, image and work out their answer. Not only do learners have a range of learning tools at their fingertips, they can share their thinking by recording their working.Teachers and parents can also use Math Shake to teach learners with the interactive tools; including tens frames, number matrixes, fraction parts, number lines and counters. "
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