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onepulledthread

Contemplative Pedagogy | Center for Teaching | Vanderbilt University - 42 views

cft.vanderbilt.edu/...contemplative-pedagogy

contemplative pedagogy attention mindfulness

shared by onepulledthread on 03 Jan 13 - No Cached
  • onepulledthread on 03 Jan 13
     
    variety of resources and contemplative activities focused on higher ed setting but adaptable.
Nigel Coutts

Making Time for Quiet Contemplation - The Learner's Way - 27 views

thelearnersway.net/...g-time-for-quiet-contemplation

education teaching learning contemplation time

shared by Nigel Coutts on 17 Sep 17 - No Cached
  • Nigel Coutts on 17 Sep 17
     
    In our busy and highly connected lives it can be difficult to find time to slow down, to deliberately and mindfully engage in reflective contemplation. Taking the time to do so can be significant for success, creativity, mental well-being and learning and yet we seem to struggle to commit time to this valuable practice. Schools, in particular seem to offer little time for students to slow down and think, and with the busy lives students lead such time is often entirely absent.
Thieme Hennis

About - Institute of Making - 28 views

www.instituteofmaking.org.uk/about

institute making maker movement science materials diy education

shared by Thieme Hennis on 14 May 14 - No Cached
  • Thieme Hennis on 14 May 14
     
    The Institute of Making is a multidisciplinary research club for those interested in the made world: from makers of molecules to makers of buildings, synthetic skin to spacecraft, soup to diamonds, socks to cities. Annual membership of the institute is available to all UCL staff and students. Our programme of symposia, masterclasses and public events explores the links between academic research and hands-on experience, and celebrates the sheer joy of stuff. Its mission is to provide all makers with a creative home in which to innovate, contemplate and understand all aspects of materials and an inspiring place to explore their relationship to making. At the heart of the Institute of Making is the Materials Library - a growing repository of some of the most extraordinary materials on earth, gathered together for their ability to fire the imagination and advance conceptualisation. A place in which makers from all disciplines can see, touch, research and discuss, so that they can apply the knowledge and experience gained to their own practice. Alongside the collection is the MakeSpace - a workshop where members and guests can make, break, design and combine both advanced and traditional tools, techniques and materials."
Elizabeth Resnick

Using "Music Writing" to Trigger Creativity, Awareness and Motivation | Edutopia - 7 views

www.edutopia.org/...gger-creativity-jeffrey-pflaum

music writing edutopia

shared by Elizabeth Resnick on 12 Apr 12 - No Cached
  • Elizabeth Resnick on 12 Apr 12
     
    The Contemplation Writing Project, as I came to call it, uses an innovative form of writing called "Music Writing" to develop intra- and interpersonal communication skills (EI), creative self-expression (journal or therapeutic writing), thinking, character education, identity and values clarification in young people through music, writing, discussion and self-assessments.
Rafael Morales_Gamboa

Contemplating the consequences of Constructivism - The Learner's Way - 21 views

thelearnersway.net/...consequences-of-constructivism

constructivism teaching learning

shared by Rafael Morales_Gamboa on 10 Sep 17 - No Cached
  • learning is a process which occurs within the mind of the individual as they process stimuli arriving from their sensory buffer from their environment (broadly speaking), into working memory and onward into long-term memory. 
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      The emphasis does not have to be on the individual, as is common. The social group learns by means of individual, but joined and synchronized, learning.
  • self-guided learning or self-initiated learning
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      Not in the case of social constructivism.
  • what is significant
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      To others...
  • ...11 more annotations...
  • independent practice
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      and social practice
  • the research on what produces effective learning supports this
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      Of course, that depends on what exactly is evaluated.
  • This desire is evident when we expect our learners to be scientists, historians, geographers, researchers and problem solvers/finders.
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      As well as critical citizens.
  • We teach the skills of inquiry, problem solving and experimentation and then provide opportunities for independent practice.
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      Can you imagine anything a better explanation of "knowledge transfer"?
  • we have previously instructed them in
  • The gradual release of responsibility model of instruction suggests that cognitive work should shift slowly and intentionally from teacher modeling, to joint responsibility between teachers and students, to independent practice and application by the learner
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      Does not sounds like the classroom is empty? Classmates? Who cares about them?
  • It is not always the case that learning is best served when the process begins with direct instruction.
  • Schools provide a rich environment within which such learning may occur
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      It is not always the case, and I would rather say that is not often the case, if our cultural legacy that depicts the school in literature and films.
  • best model can be to begin with an independent exploration of new content even when this produces failure
  • schools maximise their impact on the learning that occurs
  • constructivism urges teachers to ensure that the learner is at least as involved in the process as their teachers are
    • Rafael Morales_Gamboa
      Rafael Morales_Gamboa on 11 Sep 17
       
      I would call that "teacher-centred constructivism".
  • Nigel Coutts on 10 Sep 17
     
    Constructivism is one of those ideas we throw around in educational circles without stopping to think about what we mean by it. They are the terms that have multiple meanings, are at once highly technical and common usage and are likely to cause debate and disagreements. Constructivism in particular carries a quantity of baggage with it. It is a term that is appropriated by supporters of educational approaches that are in stark contrast to the opposing view; constructivism vs didactic methods or direct instruction. The question is what are the origins of constructivism and does a belief in this as an approach to understanding learning necessitate an abandonment of direct instruction or is this a false dichotomy?
Nigel Coutts

Contemplating questions of work life balance - The Learner's Way - 16 views

thelearnersway.net/...questions-of-work-life-balance

questions life balance learner education teaching

shared by Nigel Coutts on 14 Apr 19 - No Cached
  • Nigel Coutts on 14 Apr 19
     
    Oddly lately I have been pondering how schools responds to the question of a work life balance. Let me try to explain my thinking. I am still trying to clarify my thinking here, so please bear with me. What does it mean to achieve work life balance, and should we want to?
Nigel Coutts

Thinking throughout the Inquiry Cycle - The Learner's Way - 9 views

thelearnersway.net/...g-throughout-the-inquiry-cycle

inquiry learning thinking education

shared by Nigel Coutts on 31 Jan 21 - No Cached
  • Nigel Coutts on 31 Jan 21
     
    If we believe that all learning is a consequence of thinking, then we should consider what types of thinking our learners are likely to benefit from at each phase of their inquiry. This is where the Understanding Map, developed by Ritchhart, Church & Morrison offers useful guidance. By contemplating the demands of each phase of our chosen inquiry model, we can plan for how we might scaffold thinking moves which will enhance our learners' learning.
Nigel Coutts

Multiple perspectives on an understanding of inquiry - The Learner's Way - 5 views

thelearnersway.net/...on-an-understanding-of-inquiry

inquiry learning education teaching thinking pedagogy curriculum

shared by Nigel Coutts on 26 Jul 20 - No Cached
  • Nigel Coutts on 26 Jul 20
     
    Recently I have been contemplating how we might define inquiry. Like many terms in education, it is often used in multiple contexts and has a range of meanings attached to it. Coming to agreement on what inquiry is, requires negotiating seemingly divergent understandings. If we are to avoid oversimplifications and dichotomous thinking, we need to explore these multiple perspectives and find a balance point.
Nigel Coutts

What skills might our students most need beyond school? - The Learner's Way - 10 views

thelearnersway.net/...udents-most-need-beyond-school

education 21st century teaching curriculum

shared by Nigel Coutts on 16 Feb 20 - No Cached
  • Nigel Coutts on 16 Feb 20
     
    It is tempting to make predictions of the skills that our students will need beyond their time at school. Such wondering can be a useful guide as we contemplate what we shall focus on with our curriculum. Unsurprisingly, there is no shortage of predictions for future skillsets published by educators, economists and analysts. What might we learn from such lists, and how should education systems respond?
Nigel Coutts

Taking a Reflective Stance - The Learner's Way - 7 views

thelearnersway.net/...taking-a-reflective-stance

reflection metacognition learning education thinking

shared by Nigel Coutts on 23 Nov 20 - No Cached
  • Nigel Coutts on 23 Nov 20
     
    To ensure reflective practice is more than an activity added to our schedule, we need to take a reflective stance. Too often, reflection becomes the thing we do at the end of a task or the end of the day. We look back and contemplate what was, and with that in mind, we look forward to what we might do differently next time. It is in this way a very reactionary process. By all means, this form of reflection has its place, and it can be a powerful strategy to deploy as we seek to learn from experience. If we value reflective practice, we will be sure to set aside time for this form of reflection on a routine basis. By engaging in reflection habitually, we ensure that it is a routine part of our day. But adopting a reflective stance can make this more powerful.
tom campbell

Education Resources: K-12 | The Center for Contemplative Mind in Society - 3 views

www.contemplativemind.org/...k-12

mindfulness

shared by tom campbell on 19 Aug 13 - No Cached
  • tom campbell on 19 Aug 13
     
    Mindfulness resources for K-12 educators
Kenuvis Romero

Art of memory - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Art_of_memory

shared by Kenuvis Romero on 23 Jun 13 - No Cached
  • The Art of Memory or Ars Memoriae ("art of memory" in Latin) is a general term used to designate a loosely associated group of mnemonic principles and techniques used to organize memory impressions, improve recall, and assist in the combination and 'invention' of ideas. An alternative and frequently used term is "Ars Memorativa" which is also often translated as "art of memory" although its more literal meaning is "Memorative Art". It is sometimes referred to as mnemotechnics.[1] It is an 'art' in the Aristotelian sense, which is to say a method or set of prescriptions that adds order and discipline to the pragmatic, natural activities of human beings.[2] It has existed as a recognized group of principles and techniques since at least as early as the middle of the first millennium BCE,[3] and was usually associated with training in rhetoric or logic, but variants of the art were employed in other contexts, particularly the religious and the magical. Techniques commonly employed in the art include the association of emotionally striking memory images within visualized locations, the chaining or association of groups of images, the association of images with schematic graphics or notae ("signs, markings, figures" in Latin), and the association of text with images. Any or all of these techniques were often used in combination with the contemplation or study of architecture, books, sculpture and painting, which were seen by practitioners of the art of memory as externalizations of internal memory images and/or organization.
Bob Rowan

Get Your Students Stripping: A Simple Review of Online Comic Creation Website... - 112 views

danielespejo.com/...online-comic-creation-websites

comic creator Strip Generator comics reviews tools Creaza Pixton Toondoo GoAnimate MakeBeliefsComix Xtranormal Chogger Bitstrips education

shared by Bob Rowan on 10 Feb 11 - No Cached
  • Bob Rowan on 10 Feb 11
     
    Good review of different comic creation sites available for educators
Josh Flores

Is Google Making Us Stupid? - Magazine - The Atlantic - 48 views

www.theatlantic.com/...6868

shared by Josh Flores on 09 Nov 10 - Cached
    • donheberer85
      donheberer85 on 30 Mar 11
       
      I love the picture
    • Josh Flores
      Josh Flores on 10 May 11
       
      I think we forget to ADD our knowledge to the "great database" in the sky. Maybe our curriculum needs more of this?
  • Research that once required days in the stacks or periodical rooms of libraries can now be done in minutes
  • ...2 more annotations...
  • media are not just passive channels of information. They supply the stuff of thought, but they also shape the process of thought
  • chipping away my capacity for concentration and contemplation
    • Josh Flores
      Josh Flores on 10 May 11
       
      Another challenge and another reason to totally re-haul the way curriculum is developed and delivered.
  • Brian Mull on 09 Nov 10
     
    ""Dave, stop. Stop, will you? Stop, Dave. Will you stop, Dave?" So the supercomputer HAL pleads with the implacable astronaut Dave Bowman in a famous and weirdly poignant scene toward the end of Stanley Kubrick's 2001: A Space Odyssey. Bowman, having nearly been sent to a deep-space death by the malfunctioning machine, is calmly, coldly disconnecting the memory circuits that control its artificial " brain. "Dave, my mind is going," HAL says, forlornly. "I can feel it. I can feel it." "
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."
Katt Blackwell-Starnes

using diigo with students - 568 views

I'm interested to see where this conversation goes next. There's some great information and pointers here. Thanks for the blog link, Andy. I'll be keeping up with what you're writing. In just ove...

diigo students bookmarking

started by Andy Whiteway on 16 Mar 09 8 follow-ups, last by Katt Blackwell-Starnes on 11 Oct 09
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