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Elaine Higuera

Energyville - 68 views

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    This resource is about energy choices… maybe best for upper elementary/JrHigh. It is a game but you learn about different forms of energy (petroleum, solar, hydro, bio, nuclear, etc. You can create a group competition.
Martin Burrett

Quipper - 139 views

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    This is a beautifully made quiz maker. Make your own multiple choice quiz and add images and files. Quizzes can be access through a free android and iPhone App. http://ictmagic.wikispaces.com/ICT+%26+Web+Tools
chad even

Where in the World? A Google Earth Puzzle - Alan Taylor - In Focus - The Atlantic - 133 views

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    Looking at the world through via Google Earth offers striking images of the diversity of our planet and the impact that humans have had on it. Today's entry is a puzzle -- part 2 in a series (part 1 here), this time offering multiple choices. We're challenging you to figure out where in the world each of the images below is taken. North is not always up in these pictures, and, apart from a bit of contrast, they are unaltered images provided by Google and its mapping partners. So I invite you to have a look at the images below, make your guesses, and see your score at the end. Good luck!
Martin Burrett

Twine - 43 views

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    A wonderful download which allows users to create interactive non-linear stories which allow the reader to make choices about how the plot unfolds.
Tracy Tuten

How Can We Make Assessments Meaningful? | Edutopia - 170 views

  • Criteria for a Meaningful Classroom Assessment To address these requirements, I ask myself the following guided questions: Does the assessment involve project-based learning? Does it allow for student choice of topics? Is it inquiry based? Does it ask that students use some level of internet literacy to find their answers? Does it involve independent problem solving? Does it incorporate the 4Cs? Do the students need to communicate their knowledge via writing in some way? Does the final draft or project require other modalities in its presentation? (visual, oral, data, etc...)
  • So how can high-stakes assessments be meaningful to students? For one thing, high-stakes tests shouldn't be so high-stakes. It's inauthentic. They should and still can be a mere snapshot of ability. Additionally, those occasional assessments need to take a back seat to the real learning and achievement going on in every day assessments observed by the teacher. The key here, however, is to assess everyday. Not in boring, multiple-choice daily quizzes, but in informal, engaging assessments that take more than just a snapshot of a student's knowledge at one moment in time. But frankly, any assessment that sounds cool can still be made meaningless. It's how the students interact with the test that makes it meaningful. Remember the 4 Cs and ask this: does the assessment allow for: Creativity Are they students creating or just regurgitating? Are they being given credit for presenting something other than what was described? Collaboration Have they spent some time working with others to formulate their thoughts, brainstorm, or seek feedback from peers? Critical Thinking Are the students doing more work than the teacher in seeking out information and problem solving? Communication Does the assessment emphasize the need to communicate the content well? Is there writing involved as well as other modalities? If asked to teach the content to other students, what methods will the student use to communicate the information and help embed it more deeply?
  • Another way to ensure that an assessment is meaningful, of course, is to simply ask the students what they thought. Design a survey after each major unit or assessment. Or, better yet, if you want to encourage students to really focus on the requirements on a rubric, add a row that's only for them to fill out for you. That way, the rubric's feedback is more of a give-and-take, and you get feedback on the assessment's level of meaningfulness as soon as possible.
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  • Download the example (left) of a quick rubric I designed for a general writing assessment. I included a row that the participants could fill out that actually gave me quick feedback on how meaningful or helpful they believed the assessment was towards their own learning.
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    Worthwhile article on designing meaningful assessments
Martin Burrett

Teachers as Advisors and Mentors by @RTBCoaching - 3 views

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    "During the last 18 months, I have served as the mathematics teacher for an alternative high school in Nederland, CO. Our school operates with three full-time instructors and several support staff who teach various electives. One unique feature of our school is the advisory program. New students, within the first week of attendance, must interview each staff member. This provides an opportunity to meet every adult in the school and assists in the advisor-advisee matching process. The students provide three choices of adults to serve as their advisor until graduation."
Sharin Tebo

Creating a Culture of Inquiry | Edutopia - 78 views

  • Inquiry
  • creating a culture of inquiry takes constant work. Teachers need to establish it from the first day in the classroom, and work to keep it vital throughout the year. Here are some important things to know about creating that culture, and some ideas that you might consider.
  • Culture
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  • Questioning
  • When we make a change or set an expectation for how a classroom will operate, we begin to affect the climate. It takes time for something to become a part of the culture
  • culture of inquiry
  • Scaffold
  • A culture of inquiry will not happen overnight, but the right climate for it is much easier to establish.
  • Teachers should use a variety of strategies, such as structured protocols and question starters and stems, to support students in asking effective questions.
  • One great tool for building a culture of inquiry is essential questions that drive learning.
  • Rather than focusing on the answer, they should focus on the process of inquiry that begins when the question is asked.
  • we have to make sure that our assignments also mirror and honor inquiry
  • Do our assignments focus on complexity and justification? Do we honor student voice and choice in these assignments? Are students allowed choice in what they produce and voice in what the assignment will look like? Do we create assignments and assessments that allow students to investigate their own questions aligned to the content that we want them to learn?
  • A culture of inquiry can only become the classroom norm if there is commitment from all stakeholders -- parents, students, teachers, administration, and more. Simply saying that we are an inquiry-based classroom and doing an occasional inquiry-based activity is not indicative of a culture of inquiry.
Martin Burrett

39 new special free schools to open in England - 1 views

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    "Thousands of new school places are being created for children with special educational needs or those facing additional challenges in mainstream education, providing tailored support to help children thrive. Every region in the country will benefit from a new school, which include 37 special free schools and two alternative provision free schools. This will create around 3,500 additional school places, boosting choice for parents and providing specialist support and education for pupils with complex needs such as autism, severe learning difficulties or mental health conditions, and those who may have been or are at risk of being excluded from mainstream schools."
Martin Burrett

Teens who seek solitude may know what's best for them - 13 views

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    "Teens who choose to spend time alone may know what's best for them, according to new research that suggests solitude isn't a red flag for isolation or depression. The key factor is choice, say researchers at the University of California, Santa Cruz, and Wilmington College: When solitude is imposed on adolescents and young adults, whether as punishment or as a result of social anxiety, it can be problematic. But chosen solitude contributes to personal growth and self-acceptance, they found."
Martin Burrett

Prisma - 6 views

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    Apps which change photos into art-like creation which use filters are easy to find. This astounding app uses artificial intelligent which makes choices adapt how to adapt the image to produce amazing results. There are currently over 30 styles to choose from… the AI allows you to do that bit!
Martin Burrett

Active Tech by @ICTMagic - 19 views

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    Technology is often lambasted for creating lazy, passive cyber couched-potatoes. While the hours we endure bathed in flickering pixel light, slumped in a variety of contorted lurching positions over the input device of our choice is hardly the recipe for a healthy body. Yet, technology is becoming ever more part of our active lives and it is also spilling out into the 'real' world. As teachers, we can insist technology, or we can make it part of our classroom repertoire for PE and beyond.
Martin Burrett

MicroBit - 39 views

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    The website for the BBC Micro:Bit has lots of coding resources to use with and without a Micro:Bit device for both teachers and pupils, including program creators with a choice of programming languages.
clbrink

7 Key Considerations for Online and Blended Learning Programs -- THE Journal - 19 views

  • Online courses provide students with a level of flexibility and choice
    • clbrink
       
      This is true....choice and voice are important 
  • Infuse digital literacy and citizenship into your online strategy. "
  • Find a good partner to work with
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  • Reach out when students appear to be struggling.
  • Use online learning to reach a more diverse group of learners.
  • Put a spotlight on interpersonal communications.
  • strong collaboration between students, teachers and parents.
  • . The discussions are asynchronous, so students can share their input when it best suits them.
  • Outline the virtual school's objectives and goals early in the game.
  • discipline, commitment, and organization are key traits for any successful student,
  • four- to five-day orientation course
    • clbrink
       
      Should we be doing this in CAA?
meghankelly492

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

  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Jeff Andersen

elearn Magazine: Five Expectations Students Should Have of an Online Instructor - 8 views

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    In recent years, online degree programs have become a widely accepted modality for many learners who seek a college degree. Most often, students who choose the flexibility of online college courses have family or work obligations that inhibit their ability to be placed in a traditional classroom. Online learning is a great choice for a student who is a self-motivated, and who is an independent learner.
Martin Burrett

Genius Hour Projects: Not just for Primary Schools by @hecticteacher - 25 views

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    "Genius Hour: From discussions with Primary school teacher friends of mine it was pointed out that something happened in Year 7 that changed students from the risk taking and independent learners that they were in Year 6 into passive learners by the end of Year 7. I had noticed the same thing with my own niece as she transitioned from primary to secondary, so I started to think about what was causing it. The more I looked the more I noticed that in secondary there is very little opportunity for students to make choices or take ownership of their learning and I wanted to change this."
Nigel Coutts

Language Moves that Encourage Initiative - The Learner's Way - 5 views

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    Why might it be that our students struggle with independence? Maybe it comes from the language moves we make. As with the language of thinking, being deliberate with our choices can help us to create a classroom culture where students demonstrate independence and initiative.
Martin Burrett

Physical Mathematics by @iwilsonysj - 2 views

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    "I often sit on a Thursday evening about 2000hrs and watch the ukedchat hashtag. This week it was about physical education. Although this is not one of my strong subjects in teaching (or even in real life) I was interested in the first question which asked how physical education could be related to literacy and/or mathematics. Just like a GSCE multiple choice essay question I chose to answer how it could be related to mathematics. You can see the full tweet chat conversation here - but I thought I would expand my response in this week's waffle."
Sirkku Nikamaa-Linder

CBI: Change is possible - but we must be clearer about what we ask schools to develop i... - 1 views

    • Sirkku Nikamaa-Linder
       
      Question: What are the goals set out on the political level? What does Gove want to achieve?
  • lacks
  • guardrails
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  • which makes transformational change
  • ifficult
  • In Finland, the goals of education are explicitly linked to competitiveness, research and innovation.
  • nowhere in the UK do they really drive the terms under which schools are assessed.
  • In England, the government has defined its approach as being based on curriculum rigour.
  • This lack of a comprehensive statement of the achievement we are looking for schools to deliver is a key failing.
  • best schools
  • areas of high disadvantage
  • define the outcome they need
  • in the face of the complex and inconsistent demands the system places on them.
    • Sirkku Nikamaa-Linder
       
      Clear indication that the system as a whole is not supporting a generally accepted set of goals. Instead, the schools are trying to achieve a goal they see as important at worst while fighting the systemic demands.
  • One such school leader told us they had taken a conscious decision with one group of young people to focus on five key subjects and some life skills, knowing that the accountability system would score them down for it, as it expected eight qualifications from all students at that time.
  • Our system should reward schools making brave decisions which focus on boosting long-term outcomes for pupils, not punish them.
  • It should be able to survive changes of government and provide the test against which policy changes and school actions are judged
  • shine the light on whether the system is truly addressing the needs of all students, rather than just the few required to meet a government target.
  • Focus on raising the ambition and attainment for every child as far as their abilities permit
  • guide young people effectively on their choice of enabling subjects…
  • thos and culture that build the social skills also essential to progress in life and work, and allow them time to focus on this
  • Have a school accountability and assessment framework that supports these goals rather than defining them.
  • social literacy
  • a range of core subjects
  • ncluding critically maths, English, the sciences
  • effective use and understanding of computer science.
  • ‘enabling subjects’
  • humanities, languages, arts, technical and practically-based subjects
  • equip a young person to move on
  • o university, or to an apprenticeship or vocational qualification
  • a set of behaviours and attitudes,
  • An exclusive focus on subjects for study would fail to equip young people with these, though rigour in the curriculum does help
  • ‘employability skills’
  • Behaviours can only be developed over time, through the entire path of a young person’s life and their progress through the school system.
  • right context at school
  • A supportive culture, pastoral care and the right ethos are all needed to make the difference.
  • a long tail of pupils failing to achieve the desired outcomes can no longer be accepted.
  • enable all of our young citizens to reach the desired standards.
  • conflicting expectations placed on schools.
  • renewed system should be able to judge performance against the goals based on more complex metrics.
  • judgement
  • on overall culture and ethos, teaching and governance
  • group of data points, including testing but also outcomes data.
  • Development of a clear, widely-owned and stable statement of the outcome that all schools are asked to deliver.
  • beyond the merely academic, into the behaviours and attitudes schools should foster
  • basis on which we judge all new policy ideas, schools, and the structures we set up to monitor them
  • Ofsted
  • asked to steward the delivery of these outcomes
  • resourcing these bodies to develop an approach based on a wider range of measures and assessments than are currently in use,
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