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Martin Burrett

Combating Conflict - 9 views

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    "In an ideal world lessons would be learnt, progression would be made and everyone would get along. However, whether low-level comments or open warfare, conflict can impinge on the learning of pupils. And that is just when the teachers are arguing! In this session of UKEdChat we will discuss how to avoid conflict in the classroom, the staffroom and in the playground. Don't argue… just be on #UKEdChat at 8pm(UK)."
Peter Beens

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

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    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
Kevin Kaeser

Conflict History - 81 views

shared by Kevin Kaeser on 20 Oct 09 - Cached
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    Conflicts mapped by timeline using Google Maps!
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    infographic on location/history of wars
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    Browse the timeline of war and conflict across the globe. Great for showing geographical connections to historical events
Susanna Livingston

Coaching Children in Handling Everyday Conflicts | Responsive Classroom - 92 views

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    Responsive Classroom Website-  Has a great wealth of resources on classroom management- Great website- will also send you free printed newsletters to your home!!
Becky Roehrs

Conflicted: Faculty and Online Education, 2012 | Inside Higher Ed - 0 views

  • Faculty members are far less excited by, and more fearful of, the recent growth of online education
    • Becky Roehrs
       
      Even though the questions posed in this survey are about online education, the majority of faculty who responded taught face-to-face (75%), not online. Not too surprisingly, a majority of faculty who had taught online, as well as faculty at institutions that had more online offerings, stated that online education was as effective (or more effective), than face-to-face instruction (as has been noted in numerous research studies). It may be true that faculty who only teach face-to-face may be more conflicted about online education, but based on the teaching background of faculty who chose to respond to the survey, I would not make assumptions about faculty excitement or fears about online education.
Don Doehla

Restorative Justice: Resources for Schools | Edutopia - 19 views

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    "Restorative justice empowers students to resolve conflicts on their own, and it's growing in practice at schools around the country. Essentially, the idea is to bring students together in peer-mediated small groups to talk, ask questions and air their grievances. (This overview from Fix School Discipline is a wonderful primer.)"
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    Restorative justice empowers students to resolve conflicts on their own, and it's growing in practice at schools around the country. Essentially, the idea is to bring students together in peer-mediated small groups to talk, ask questions and air their grievances. (This overview from Fix School Discipline is a wonderful primer.)
Dallas McPheeters

World's Simplest Online Safety Policy by Lisa Nielsen - 88 views

  • Students can access websites that do not contain or that filter mature content. They can use their real names, pictures, and work (as long it doesn’t have a grade/score from a school) with the notification and/or permission of the student and their parent or guardian
  •  Anyone can begin making a difference and contributing real work at any age.
  • what puts kids at risk are things like: having a lot of conflict with your parents being depressed and socially isolated being hyper communicating with a lot of people who you don't know being willing to talk about sex with people that you don't know having a pattern of multiple risky activities going to sex sites and chat rooms, meeting lots of people there, and behaving like an Internet daredevil.
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  • Rules for tools don’t make sense. Rules for behaviors do.
  • It applies only to minors in places that apply for erate funds
  • The Children's Online Privacy Protection Act of 1998 (COPPA) applies to the online collection of personal information by persons or entities under U.S. jurisdiction from children under 13 years of age.
  • She uses Facebook with her First grade students
  • While children under 13 can legally give out personal information with their parents' permission
  • he Family Educational Rights and Privacy Act is a Federal law that protects the privacy of student education records
  • Schools may disclose, without consent, information such as a student's name, address, telephone number, date and place of birth, honors and awards, and dates of attendance.
  • applies to all schools that receive fund
  • addresses children’s education records
  • as long as it is not a grade or score
  • permission is not necessary
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    what puts kids at risk are things like: having a lot of conflict with your parents being depressed and socially isolated being hyper communicating with a lot of people who you don't know being willing to talk about sex with people that you don't know having a pattern of multiple risky activities going to sex sites and chat rooms, meeting lots of people there, and behaving like an Internet daredevil.
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."
Terry Smith

Beyond Borders - National Geographic Society - 36 views

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    The overall theme of this teacher-tested unit is using maps to understand borders and their impacts in Europe. The materials will help your middle school students to use maps to think about how borders intersect physical and human geographical features, and how those intersections can lead to cooperation and/or conflict. The educator resources provided in the unit include maps, multimedia, and case studies that will enable students to develop skills in map analysis and apply that analysis to specific situations. Other parts of the unit will invite you and your students to explore similar cases in Europe and your own community.
Martin Burrett

Why avoiding in-school politics isn't always the best policy - UKEdChat.com - 17 views

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    "Schools are inherently full of different characters. With a mix of personalities, students and staff can often clash with each other, using different strategies to gain the upper hand, or simply to avoid conflict and live a quiet life. Yet, there are those characters who can be sneaky, back-stabbing, manipulative or darn right confrontational. It's these people who know how to play politics to win friends, influence and possibly to gain the upper hand in climbing the next step on the career ladder."
David Sebek

Doublethink: The Creativity-Testing Conflict | The Creativity Post - 118 views

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    The source of schizophrenia in education
Roland Gesthuizen

Education in the Age of Globalization » Blog Archive » Doublethink: The Creat... - 1 views

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    "test scores are not measures of entrepreneurship or creativity. Not even scores on the intensely watched and universally worshiped Program for International Student Assessment, or PISA, are good indicators of a nation's capacity for entrepreneurship and creativity."
onepulledthread

Former Indiana Governor Seeks Censorship of Howard Zinn - Validated Independent News - 44 views

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    project censored article on former Indiana gov Mitch Daniels now president of Purdue's effort to root out Zinn's work from being used by teachers.  article notes contrast of Ziinn's treatment of US imperialism compared with a standard history text used in Indiana that devotes all of two paragraphs to the US war with Mexico that ended with Mexico "ceding" i(n the euphemistic curricular language) almost 1/2 it's territory to the US--while not mentioning any dissent about this war.  In contrast, Zinn's people's history devotes a whole chapter to the conflict. 
anonymous

Clausewitz's Fog and Friction and the Military Transformation Fiction | Ballots & Bullets - 3 views

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    Strategic studies have retained the thinking of Karl von Clausewitz at its core. The Prussian General's understanding of war by reference to the political process saw wars as the "continuation of politics by other means" (Clausewitz, 1997). In conflict research, this has become the most widely quoted definition of war. What made Clausewitz's work 'On War' so successful was that he wrote about war by focusing on its general aspects, or more simply, on the spirit of war as he saw it. In this way, war no longer drew on narrow and specific contexts, but rather became understood, as an enduring phenomenon, in general terms.
Brianna Crowley

Teacher or Parent: Does One Role Trump the Other? | Parenting on GOOD - 34 views

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    A teacher-parent-blogger advocates for the difficulty and conflicts that arise when occupying roles both in the classroom and at home.
David Hickman

Robots: The Future is Now - CBS News Video - 46 views

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    Fascinating video highlighting student robotics (FIRST) and the connection to rapidly advancing uses in the real world, especially military. 20,000 robots are used in Iraq today, and only a handful were in use in 2003 when the conflict began!
Bill Warters

CRE Connection: Resources for Teachers - Teacher's Calendar - 35 views

  • Click here to go to the calendar ordering page.
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    2nd Edition of free school year wall calendar (pdf/smartboard friendly version as well) that provides suggested conflict resolution related activities in the top half of the page, important dates in the bottom. 5-copy school-packs can be sent to schools at no cost while supplies last. Great stuff.
Chuck Baker

A Few Cautions About Organizational Change - 43 views

A Few Cautions About Organizational Change - from Dr. Jane Howland, ISLT 9475 Diffusion of Educational Innovations instructional materials, University of Missouri TOO often, organizational change ...

change reform innovation vision

started by Chuck Baker on 15 Nov 10 no follow-up yet
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