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Jeff Andersen

OPEN Physical Education Curriculum - Online Physical Educators Network - 26 views

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    Open source sited for PE Teachers and Activity Leaders
Joyce Kolakowski

Energizing Brain Breaks - 342 views

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    Energizing Brain Breaks are 1-2 minute activities to help your students refocus. Now they are available in PowerPoint and SMARTBoard Versions
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    1 or 2 minute activities to energize the brain and refocus
Cammy Torgenrud

Educational Leadership:Closing Opportunity Gaps:The Myth of Pink and Blue Brains - 36 views

  • Few other clear-cut differences between boys' and girls' neural structures, brain activity, or neurochemistry have thus far emerged, even for something as obviously different as self-regulation.
  • Our actual ability differences are quite small. Although psychologists can measure statistically significant distinctions between large groups of men and women or boys and girls, there is much more overlap in the academic and even social-emotional abilities of the genders than there are differences (Hyde, 2005). To put it another way, the range of performance within each gender is wider than the difference between the average boy and girl.
  • epigenetic
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  • Baby boys are modestly more physically active than girls (Campbell & Eaton, 1999). Toddler girls talk one month earlier, on average, than boys (Fenson et al., 1994). Boys appear more spatially aware (Quinn & Liben, 2008).
  • Avoid stereotyping
  • Appreciate the range of intelligences
  • Strengthen spatial awareness
  • Engage boys with the word
  • Recruit boys into nonathletic extracurricular activities
  • Bring more men into the classroom
  • Treat teacher bias seriously
api_dev

YOPmail - 7 views

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Glenn Hervieux

Control Alt Achieve: Video Dubbing Learning Activities for Students - using Screencasti... - 37 views

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    Nice step by step instruction on how to create activities using Screencastify and Google Drive
Frederick Eberhardt

Powerful Learning: Studies Show Deep Understanding Derives from Collaborative Methods |... - 85 views

  • In essence, students must learn how to learn, while responding to endlessly changing technologies and social, economic, and global conditions.
  • students learn more deeply if they have engaged in activities that require applying classroom-gathered knowledge to real-world problems.
  • developing inquiring minds
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  • Studies of problem-based learning suggest that it is comparable, though not always superior, to more traditional instruction in teaching facts and information. However, this approach has been found to be better in supporting flexible problem solving, reasoning skills, and generating accurate hypotheses and coherent explanations.
  • design challenges need to be carefully planned, and they emphasized the importance of dynamic feedback.
  • When students have no prior experience with inquiry learning, they can have difficulty generating meaningful driving questions and logical arguments and may lack background knowledge to make sense of the inquiry.
    • Adrienne Michetti
       
      Absolutely true. I discovered this when I used inquiry-based methods with my students in Qatar who were used to rote learning. They truly did not know where to start. They first needed to learn *how* to be inquisitive.
  • Requiring students to track and defend their thinking focused them on learning and connecting concepts in their design work
  • All the research arrives at the same conclusion: There are significant benefits for students who work together on learning activities.
  • groups outperform individuals on learning tasks and that individuals who work in groups do better on later individual assessments.
  • In successful group learning, teachers pay careful attention to the work process and interaction among students.
  • "It is not enough to simply tell students to work together. They must have a reason to take one another's achievement seriously.
  • She and her colleagues developed Complex Instruction, one of the best-known approaches, which uses carefully designed activities requiring diverse talents and interdependence among group members.
    • Adrienne Michetti
       
      Interesting... worth checking out.
  • They require changes in curriculum, instruction, and assessment practices -- changes that are often new for teachers and students.
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    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
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    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
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    Vocational Education meets Research in the dynamic classroom of Linda Darling-Hammond, 2008. The students are doing the research, teaching and learning. They control their own destiny and they are taking the world by storm! They are not waiting to be taught, they are teaching each other and themselves as teams of researchers. Darling-Hammond, L. (2008). Powerful learning: what we know about teaching for understanding. San Francisco, CA: Jossey-Bass.
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."
Martin Burrett

Languages Online - 43 views

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    This site is designed for English as an additional language, native English speakers and MFL learners with some great ready-made resources, including videos. There is also a collection of downloadable resources for making customised games and activities which can be used in a wide range of subjects. http://ictmagic.wikispaces.com/Cross+Curricular
Lesley Grant

Teaching Ideas - Free lesson ideas, plans, activities and resources for use in the prim... - 71 views

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    Ideas, resources, activities related to books, P-8
Jeff Andersen

About Us - Outdoor Voices - 11 views

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    We make clothes for sweating in - interchangeable layers that play nice in any season or activity. From dog jogs to dodgeball, we're after a wardrobe that spans gym-life and life-life without sweating the small stuff. Don't know where to start? There's an OV Kit for that. Ready to dive deeper?
Kelly Dau

Math Teaching Resources for K-5 Classrooms - 121 views

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    This site provides a range of resources, math games, and hands-on math activities aligned with the Common Core State Standards for Mathematics. Also available are Math Journal tasks for Kindergarten, 1st, 2nd, 3rd, 4th, and 5th Grade for teachers looking to use Math Journals as a means of providing students with opportunities to organize, clarify and reflect on their thinking while developing key mathematical skills and understandings.
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    This site provides an extensive collection of free resources, math games, and hands-on math activities aligned with the Common Core State Standards.
Eugene Van der Westhuizen

Teachers: Math in Videogames ~ Activities : Get The Math - 75 views

  • Math in Videogames Lesson Plan
  • Math in Videogames Lesson Plan
  • Math in Videogames Lesson Plan
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    Maths in video games - lesson plan
Martin Burrett

Design Your Own Gingerbread House - 14 views

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    Design your own Christmas Gingerbread house with is fun activity. Once you have finished you can print out your creation.
Martin Burrett

Math Apprentice - 158 views

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    A superb set of maths games and activities on topics across the maths curriculum. Guide your character around the town exploring buildings and jobs by completing maths tasks. http://ictmagic.wikispaces.com/Maths
Martin Burrett

EFL Activities for Kids, ESL Printables, Worksheets, Games, Puzzles, for Preschool, Pri... - 48 views

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    A huge ESL/EAL site with a vast collection of PDF worksheets and flashcards, activities, games, ebooks and media for English language students. http://ictmagic.wikispaces.com/English+As+An+Additional+Language
Tara Heath

Hate Speech and Hate Crime | Advocacy, Legislation & Issues - 4 views

  • There is no legal definition of "hate speech" under U.S. law, just as there is no legal definition for evil ideas, rudeness, unpatriotic speech, or any other kind of speech that people might condemn. Generally, however, hate speech is any form of expression through which speakers intend to vilify, humiliate, or incite hatred against a group or a class of persons on the basis of race, religion, skin color sexual identity, gender identity, ethnicity, disability, or national origin. 1 In the United States, hate speech is protected by the First Amendment. Courts extend this protection on the grounds that the First Amendment requires the government to strictly protect robust debate on matters of public concern even when such debate devolves into distasteful, offensive, or hateful speech that causes others to feel grief, anger, or fear. (The Supreme Court's decision in Snyder v. Phelps provides an example of this legal reasoning.) Under current First Amendment jurisprudence, hate speech can only be criminalized when it directly incites imminent criminal activity or consists of specific threats of violence targeted against a person or group. Hate Crime For the purposes of collecting statistics, the FBI has defined a hate crime as a “criminal offense against a person or property motivated in whole or in part by an offender’s bias against a race, religion, disability, sexual orientation, ethnicity, gender, or gender identity,” including skin color and national origin.  Hate crimes are overt acts that can include acts of violence against persons or property, violation or deprivation of civil rights, certain "true threats," or acts of intimidation, or conspiracy to commit these crimes. The Supreme Court has upheld laws that either criminalize these acts or impose a harsher punishment when it can be proven that the defendant targeted the victim because of the victim's race, ethnicity, identity, or beliefs.  A hate crime is more than than offensive speech or conduct; it is specific criminal behavior that ranges from property crimes like vandalism and arson to acts of intimidation, assault, and murder.  Victims of hate crimes can include institutions, religious organizations and government entities as well as individuals.
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    "Hate Speech There is no legal definition of "hate speech" under U.S. law, just as there is no legal definition for evil ideas, rudeness, unpatriotic speech, or any other kind of speech that people might condemn. Generally, however, hate speech is any form of expression through which speakers intend to vilify, humiliate, or incite hatred against a group or a class of persons on the basis of race, religion, skin color sexual identity, gender identity, ethnicity, disability, or national origin. 1 In the United States, hate speech is protected by the First Amendment. Courts extend this protection on the grounds that the First Amendment requires the government to strictly protect robust debate on matters of public concern even when such debate devolves into distasteful, offensive, or hateful speech that causes others to feel grief, anger, or fear. (The Supreme Court's decision in Snyder v. Phelps provides an example of this legal reasoning.) Under current First Amendment jurisprudence, hate speech can only be criminalized when it directly incites imminent criminal activity or consists of specific threats of violence targeted against a person or group. Hate Crime For the purposes of collecting statistics, the FBI has defined a hate crime as a "criminal offense against a person or property motivated in whole or in part by an offender's bias against a race, religion, disability, sexual orientation, ethnicity, gender, or gender identity," including skin color and national origin.  Hate crimes are overt acts that can include acts of violence against persons or property, violation or deprivation of civil rights, certain "true threats," or acts of intimidation, or conspiracy to commit these crimes. The Supreme Court has upheld laws that either criminalize these acts or impose a harsher punishment when it can be proven that the defendant targeted the victim because of the victim's race, ethnicity, identity, or beliefs.  A hate crime is more than than offensive speech
Michele Brown

Digital Citizenship Education - 7 views

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    Curriculum developed by Microsoft that provides easy to follow lessons and activities about digital citizenship and creative content.
Trevor Cunningham

web2.0calc - 1 views

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    Embeddable scientific calculator widgets to include in your LMS mathematics activities.
Florence Dujardin

Promoting Student Engagement by Integrating New Technology into Tertiary Education: The... - 3 views

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    Teachers in tertiary education need new strategies to communicate with students of the net generation and to shape enticing educational experiences for them. The use of new approaches such as video-recorded lectures to communicate directly and individually with all students has been the preserve of technology-savvy educators. However, a recent technological advance - the Apple iPad - has the potential to change this situation, offering access to effective and efficient pedagogy in an easy and intuitive way. This paper is a report on the use of the iPad in teaching activities over the past 15 months, showing how it can be used to enhance engagement with learning for tertiary students, both those studying live on campus and those studying at a distance.
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