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Martin Burrett

Boxmeup - Know what you have stored - 36 views

boxmeupapp.com

moving QR codes storage boxes

shared by Martin Burrett on 08 Jul 11 - No Cached
  • Martin Burrett on 08 Jul 11
     
    Moving classrooms or just putting things in storage? This clever site stores the list of items and provides a QR code with details for each box. http://ictmagic.wikispaces.com/ICT+&+Web+Tools+-+Miscellaneous
Martin Burrett

Lissa Explains it All -- HTML Help and Tutorial for Kids - 57 views

www.lissaexplains.com

html coding programming

shared by Martin Burrett on 16 Oct 11 - Cached
  • Martin Burrett on 16 Oct 11
     
    This is a superb site with everything teachers need to get their class coding with HTML. http://ictmagic.wikispaces.com/ICT+%26+Web+Tools
anonymous

QR Codes in the Classroom - Kathy Schrock's Guide to Everything - 154 views

www.schrockguide.net/qr-codes-in-the-classroom.html

shared by anonymous on 08 Aug 13 - No Cached
  • Jenna Ervin on 08 Aug 13
     
    Links and ideas on how to utilize QR codes in the classroom
Deborah Baillesderr

About Us | Explore MIT App Inventor - 48 views

appinventor.mit.edu/...about-us.html

mit appinventor app inventor coding graphical_interface

shared by Deborah Baillesderr on 05 Dec 15 - No Cached
  • Deborah Baillesderr on 05 Dec 15
     
    "MIT App Inventor is an innovative beginner's introduction to programming and app creation that transforms the complex language of text-based coding into visual, drag-and-drop building blocks. The simple graphical interface grants even an inexperienced novice the ability to create a basic, fully functional app within an hour or less."
Margaret Hale

ePortfolios and GoogleApps - ePortfolios with GoogleApps - 142 views

sites.google.com/...try-eportfolios-and-googleapps

8847_multimedia e-portfolios 8847_active_learning

shared by Margaret Hale on 11 Mar 12 - Cached
  • Margaret Hale on 11 Mar 12
     
    Dr. Barrett's (n.d.) webpage presents an introduction to the types of ePortfolios in a learner-centered approach. The website requires cognitive activity and capitalizes on the use of multimedia to present the essential content; and it does so following instructional design principles as recommended by Mayer (2009). Beginning with an anticipatory set to activate the learner's prior knowledge, the lesson page begins by asking learners to think about their own personal use of portfolios. Immediately following, the essential material elements are presented in a cartoon image, capitalizing on the benefits of dual coding (Mayer, Id.), using both images and key words to help learners pay attention and select appropriate information. The image also relies on spatial contiguity (Mayer, Id.) in its presentation format. This webpage itself would fit into Mayer's (Id.) use of multimedia as "information acquisition." However, coupled with a reflective activity, learners would be able to make more integrated sense of the types of portfolios available and which types would be most suited for their particular needs. References: Barrett, H. (n.d.). ePortfolios and Google Apps. [Webpage]. Retrieved from http://sites.google.com/site/eportfolioapps/overview/blog-entry-eportfolios-and-googleapps Mayer, R. (2009). Multimedia learning (2nd Ed.). New York, NY: Cambridge University Press.
  • Margaret Hale on 11 Mar 12
     
    Dr. Barrett's (n.d.) webpage presents an introduction to the types of ePortfolios in a learner-centered approach. The website requires cognitive activity and capitalizes on the use of multimedia to present the essential content; and it does so following instructional design principles as recommended by Mayer (2009). Beginning with an anticipatory set to activate the learner's prior knowledge, the lesson page begins by asking learners to think about their own personal use of portfolios. Immediately following, the essential material elements are presented in a cartoon image, capitalizing on the benefits of dual coding (Mayer, Id.), using both images and key words to help learners pay attention and select appropriate information. The image also relies on spatial contiguity (Mayer, Id.) in its presentation format. This webpage itself would fit into Mayer's (Id.) use of multimedia as "information acquisition." However, coupled with a reflective activity, learners would be able to make more integrated sense of the types of portfolios available and which types would be most suited for their particular needs. References: Barrett, H. (n.d.). ePortfolios and Google Apps. [Webpage]. Retrieved from http://sites.google.com/site/eportfolioapps/overview/blog-entry-eportfolios-and-googleapps Mayer, R. (2009). Multimedia learning (2nd Ed.). New York, NY: Cambridge University Press.
Deborah Baillesderr

Free Screen Sharing and Online Meeting Software | Screenleap - 81 views

www.screenleap.com

screensharing collaboration tools screenleap

shared by Deborah Baillesderr on 18 Mar 12 - No Cached
  • Mary Phillips on 18 Mar 12
     
    Free screen sharing from any device, including smart phones and tablets. Hmm ... does this replace reflections or Apple TV in presentations?
  • ...1 more comment...
  • Margaret Moore-Taylor on 20 Mar 12
     
    I like this one but could someone comment on how their experiences was when using it, and what did they use it for. This would be helpful.
  • Elizabeth Resnick on 26 Apr 12
     
    Mary Vaughn writes:  Want to share and collaborate across the classroom?  How about across the state or further?  http://www.screenleap.com/ is the perfect tool to do that.  Easy to use, all you have to do is download the java applet and you're ready to share your screen with anyone at anytime.  This works in tandem with apple devices or any device that has internet connection.  Unfortunately, right now it's a one-way deal - you'll have to use a pc or mac to share.  It gives a simple code or website you can share with others to see your screen.  There's a little lagtime but not terribly so.  So, if you have teachers who have data projectors going on the fritz, want to do a PLC with other colleagues, or whatever collaboration you're working with, this could be the perfect tool.  Hint:  use the tabs to open up different websites - you have to keep the original screenleap up and running.
  • Deborah Baillesderr on 11 Nov 14
     
    Instantly share your screen with a join code.
Martin Burrett

Google Santa Tracker - 19 views

ukedchat.com/...google-santa-tracker

coding Christmas games

shared by Martin Burrett on 04 Dec 17 - No Cached
  • Martin Burrett on 04 Dec 17
     
    "Track Santa on Christmas Eve, play games and learn coding with elves with this Google Christmas site."
Martin Burrett

Grasshopper - 8 views

ukedchat.com/...grasshopper

coding iOS Android app

shared by Martin Burrett on 22 Apr 18 - No Cached
  • Martin Burrett on 22 Apr 18
     
    "A superb Android and iOS app which teaches beginners how to code in Java Script with micro projects. The task begin simple, but soon become challenging."
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."
Martin Burrett

Swift Playgrounds - 16 views

ukedchat.com/...swift-playgrounds

Apple Apple app app iOS iOS app coding

shared by Martin Burrett on 26 Sep 16 - No Cached
  • Martin Burrett on 26 Sep 16
     
    Swift Playground is an iPad app to learn Apple's Swift coding language which underpins apps on iOS. The app has engaging lessons and different levels to play.
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