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Tracy Tuten

Tech Learning TL Advisor Blog and Ed Tech Ticker Blogs from TL Blog Staff - TechLearnin... - 60 views

www.techlearning.com/31582

learning storytelling publishing sme

shared by Tracy Tuten on 20 Aug 10 - Cached
  • Mixbook (or Mixbook for Educators) is a photo-based creation platform that offers hundreds of layouts and backgrounds to choose from along with customizable frames and text to make your book beautiful. Just pick a layout, drag-and-drop your photos into the photo slots, and edit to your heart's content.
  • Though the site's examples suggest using the books to gather wedding, travel, and baby albums, this program can absolutely used to create stories around historic photographs and artifacts, original art, to produce a class yearbook, to share an oral or personal history or journey, to tell the story of a field trip.  Mixbook for Educators now offers a secure collaborative environment for sharing their ebooks, as well as discounts on printed products, should you choose to print.  (A similar option is Scrapblog.)
  • Storybird, a collaborative storybook building space designed for ages 3-13, inspires young writers to create text around the work of professional artists and the collection of art is growing. Two (or more) people create a Storybird in a round robin fashion by writing their own text and inserting pictures. They then have the option of sharing their Storybird privately or publicly on the network. The final product can be printed (soon), watched on screen, played with like a toy, or shared through a worldwide library. Storybird is also a simple publishing platform for writers and artists that allows them to experiment, publish their stories, and connect with their fans.
  • ...4 more annotations...
  • Myth and Legend Creator 2 shares a collection of traditional stories from England and around the world to hear and read. The site offers historical context for each story, story time lines and maps, ideas for use of the story in the classroom, and student work inspired by the story.  The Story Creator--with its libraries of backgrounds, characters, props, text bubbles, sound and video recording tools, and options to upload--provides students easy opportunities to create their own versions of traditional stories.
  • The Historic Tale Construction Kit is similar in that it helps students construct stories around a theme, in this case stories set in the middle ages with movable, scalable beasts, folks, braves, buildings. and old-style text.
  • Tikatok is a platform devoted to kid book publishing at a variety of levels.  Children have the option of exploring a collection of interactive story templates called StorySparks prompts, personalizing an existing book with their own names in Books2Go, with their own names, or starting from scratch in Create Your Own Book. Tikatok’s Classroom Program allows teachers to share lesson plans, view and edit students' work online, encourage collaboration, and track writing progress.
  • Big Universe is both an online library and a publishing and sharing community for grades K through 8.  Using Big Universe Author, students may create, research, and collaborate on books using a library of more than 7000 images and interactive tools.
  • Tracy Tuten on 20 Aug 10
     
    Digital publishing tools for creating story books
MIchael Heneghan

Myths and Opportunities: Technology in the Classroom by Alan November on Vimeo - 68 views

vimeo.com/3930740

education technology AlanNovember web2.0 teaching

shared by MIchael Heneghan on 05 Aug 10 - Cached
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "People learn through conversations"
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "Easy to teach teachers to use technology. Difficult to get the teachers to shift control away from themselves to the kids."
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "Tech robbed kids of the opportunity to make a contribution to their communities." How can I find a way to help kids contribute, via English class?
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "Interdisc. Bauhaus created an amazing flow of ideas." How can we make our classes more interdisc.?
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "Need authentic conversations locally and around the world"
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "this gives students more of a choice to do the kinds of assignments they want to do, as opposed to just the teacher deciding." You would certainly need to check that they were doing challenging, relevant work.
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      All of these skills mentioned above are exactly what are essential in the 21st century workplace.
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      Concrete idea for how to answer the above, last question. He used a concrete example from a 3rd grade class: "Have the kids create a podcast every week of what they learned. Have a writer, producer, mixer, etc." Would you do that during class time or outside of classtime?
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "Have an official Note Taker each class as well. Have the class as a whole review the notes to see if they are good/correct."
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "Another solution: you need to be more reflective on the body of work that you are doing. What have I learned? Where have I been and where am I going?" How do you do this?
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "Teach kids really good research skills. Have them look up assignments and related material from other teachers from all over the world." And then do what with them?
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "One solution: have an official classroom researcher everyday in your class." The job would be to gather the websites that will be used connected to whatever it is you're studying? Is that right? Need more thought on this.
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "Final Myth: Tech will make kids smarter. Actually it's a distraction. Creates more plagiarism and people wanting to get things done. Losing critical thinking." How can we use the enormous resources of the internet and at the same time increase critical thinking?
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "Another myth: the internet will give people a range of ideas. The opposite is true. People search out their version of the truth, e.g. Fox News or Huffington Post." I find this to be incredibly true.
    • MIchael Heneghan
      MIchael Heneghan on 20 Aug 10
       
      "It's a myth that tech will be the great equilizer in society. At least not for now." Why?
  • MIchael Heneghan on 20 Aug 10
     
    This was shared previously, but I've added many annotations I think teachers will find interesting.
Jon Tanner

Google Apps in the Classroom (chadkafka) - 136 views

www.chadkafka.com/...google

google classroom apps

shared by Jon Tanner on 19 Mar 10 - Cached
  • Jon Tanner on 19 Mar 10
     
    Chad Kafka's Google Apps in the Classroom resource. Great presentation on use of apps in the classroom, some common myths, and other references.
  • Jon Tanner on 19 Mar 10
     
    Great resource for teachers interested in Google Apps. His presentations at WEMTA were standing room only.
Seth Mitchell

The Flipped Class: Myths vs. Reality - THE DAILY RIFF - Be Smarter. About Education. - 148 views

www.thedailyriff.com/...ped-class-conversation-689.php

shared by Seth Mitchell on 26 Jun 11 - No Cached
Jennifer Diaz liked it
  • The traditional definition of a flipped class is:Where videos take the place of direct instructionThis then allows students to get individual time in class to work with their teacher on key learning activities.It is called the flipped class because what used to be classwork (the "lecture" is done at home via teacher-created videos and what used to be homework (assigned problems) is now done in class.
    • trisha_poole
      trisha_poole on 26 Jun 11
       
      Providing blended learning experiences for internal students.
  • The Flipped Classroom is NOT:
    • trisha_poole
      trisha_poole on 26 Jun 11
       
      Great! It's not an "easy" way out of teaching or reducing the workload - it's all about engaging the learners in the process of learning and providing more opportunities (affordances) for this learning to occur.
  • The Flipped Classroom IS:
  • ...1 more annotation...
  • A blending of direct instruction with constructivist learning.
    • Seth Mitchell
      Seth Mitchell on 03 Apr 14
       
      This is often overlooked.  The content should serve authentic application of skills, not itself.
  • trisha_poole on 26 Jun 11
     
    A good post about what a flipped classroom is and what it can be. It outlines what it is not, as well. Good basic introduction to flipped classrooms.
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."
Cammy Torgenrud

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

www.ascd.org/...h-of-Pink-and-Blue-Brains.aspx

psychology brain gender education

shared by Cammy Torgenrud on 05 Nov 10 - No Cached
  • 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
  • ...8 more annotations...
  • 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
Nancy White

Game-Based Learning Units for the Everyday Teacher BY ANDREW MILLER 9/26/11| The Commit... - 157 views

www.fluency21.com/blogpost.cfm

inquiry Game-Based learning

shared by Nancy White on 11 Oct 11 - No Cached
  • One common myth about GBL is that it requires high-level technology. Another is that it is simply using games, whether physical or on the web, in the classroom. These ideas are not entirely true. Yes, GBL can be more rockstar when using technology, but it is not a requirement.
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