Skip to main content

Home/ Diigo In Education/ Group items tagged criticize

Rss Feed Group items tagged

Mr. Eason

Educational Leadership:Teaching for the 21st Century:21st Century Skills: The Challenge... - 119 views

  • the skills students need in the 21st century are not new.
  • Critical thinking and problem solving, for example, have been components of human progress throughout history
  • What's actually new is the extent to which changes in our economy and the world mean that collective and individual success depends on having such skills
  • ...27 more annotations...
  • Many reform efforts, from reducing class size to improving reading instruction, have devolved into fads or been implemented with weak fidelity to their core intent. The 21st century skills movement faces the same risk.
  • some of the rhetoric we have heard surrounding this movement suggests that with so much new knowledge being created, content no longer matters; that ways of knowing information are now much more important than information itself. Such notions contradict what we know about teaching and learning and raise concerns that the 21st century skills movement will end up being a weak intervention for the very students—low-income students and students of color—who most need powerful schools as a matter of social equity.
  • First, educators and policymakers must ensure that the instructional program is complete and that content is not shortchanged for an ephemeral pursuit of skills
  • Second, states, school districts, and schools need to revamp how they think about human capital in education—in particular how teachers are trained
  • inally, we need new assessments that can accurately measure richer learning and more complex tasks
  • Skills and knowledge are not separate, however, but intertwined.
  • In some cases, knowledge helps us recognize the underlying structure of a problem.
  • At other times, we know that we have a particular thinking skill, but domain knowledge is necessary if we are to use it.
  • if skills are independent of content, we could reasonably conclude that we can develop these skills through the use of any content. For example, if students can learn how to think critically about science in the context of any scientific material, a teacher should select content that will engage students (for instance, the chemistry of candy), even if that content is not central to the field. But all content is not equally important to mathematics, or to science, or to literature. To think critically, students need the knowledge that is central to the domain.
  • The importance of content in the development of thinking creates several challenges
  • first is the temptation to emphasize advanced, conceptual thinking too early in training
  • Another curricular challenge is that we don't yet know how to teach self-direction, collaboration, creativity, and innovation the way we know how to teach long division.
  • But experience is not the same thing as practice. Experience means only that you use a skill; practice means that you try to improve by noticing what you are doing wrong and formulating strategies to do better. Practice also requires feedback, usually from someone more skilled than you are.
  • We must plan to teach skills in the context of particular content knowledge and to treat both as equally important.
  • education leaders must be realistic about which skills are teachable. If we deem that such skills as collaboration and self-direction are essential, we should launch a concerted effort to study how they can be taught effectively rather than blithely assume that mandating their teaching will result in students learning them.
  • teachers don't use them.
  • Even when class sizes are reduced, teachers do not change their teaching strategies or use these student-centered method
  • these methods pose classroom management problems for teachers.
  • These methods also demand that teachers be knowledgeable about a broad range of topics and are prepared to make in-the-moment decisions as the lesson plan progresses.
  • constant juggling act
  • greater collaboration among teachers.
  • But where will schools find the release time for such collaboration?
  • professional development is a massive undertaking.
  • Unfortunately, there is a widespread belief that teachers already know how to do this if only we could unleash them from today's stifling standards and accountability metrics. This notion romanticizes student-centered methods, underestimates the challenge of implementing such methods, and ignores the lack of capacity in the field today.
  • The first challenge is the cost.
  • measures that encourage greater creativity, show how students arrived at answers, and even allow for collaboration.
  • When students first encounter new ideas, their knowledge is shallow and their understanding is bound to specific examples. They need exposure to varied examples before their understanding of a concept becomes more abstract and they can successfully apply that understanding to novel situations.
Tonya Thomas

Future Work Skills 2020 - 3 views

  • Transdisciplinarity: literacy in and ability to understand concepts across multiple disciplines. More about transdisciplinarity.Virtual collaboration: ability to work productively, drive engagement, and demonstrate presence as a member of a virtual team. More about virtual collaboration.Sense-making: ability to determine the deeper meaning or significance of what is being expressed. More about sense-making.Social intelligence: ability to connect to others in a deep and direct way, to sense and stimulate reactions and desired interactions. More about social intelligence.Cross-cultural competency: ability to operate in different cultural settings. More about cross-cultural competency.Cognitive load management: ability to discriminate and filter information for importance, and to understand how to maximize cognitive functioning using a variety of tools and techniques. More about cognitive load management.Novel and adaptive thinking: proficiency at thinking and coming up with solutions and responses beyond that which is rote or rule-based. More about novel and adaptive thinking.Computational thinking: ability to translate vast amounts of data into abstract concepts and to understand data-based reasoning. More about computational thinking.New media literacy: ability to critically assess and develop content that uses new media forms, and to leverage these media for persuasive communication. More about new media literacy. More about new media literacy.Design mindset: ability to represent and develop tasks and work processes for desired outcomes. More about design mindset.
  •  
    "Transdisciplinarity: literacy in and ability to understand concepts across multiple disciplines. More about transdisciplinarity. Virtual collaboration: ability to work productively, drive engagement, and demonstrate presence as a member of a virtual team. More about virtual collaboration. Sense-making: ability to determine the deeper meaning or significance of what is being expressed. More about sense-making. Social intelligence: ability to connect to others in a deep and direct way, to sense and stimulate reactions and desired interactions. More about social intelligence. Cross-cultural competency: ability to operate in different cultural settings. More about cross-cultural competency. Cognitive load management: ability to discriminate and filter information for importance, and to understand how to maximize cognitive functioning using a variety of tools and techniques. More about cognitive load management. Novel and adaptive thinking: proficiency at thinking and coming up with solutions and responses beyond that which is rote or rule-based. More about novel and adaptive thinking. Computational thinking: ability to translate vast amounts of data into abstract concepts and to understand data-based reasoning. More about computational thinking. New media literacy: ability to critically assess and develop content that uses new media forms, and to leverage these media for persuasive communication. More about new media literacy. More about new media literacy. Design mindset: ability to represent and develop tasks and work processes for desired outcomes. More about design mindset."
Chema Falcó

28 Critical Thinking Question Stems For Any Content Area - - 57 views

  •  
    28 preguntas para ayudar a desarrollar el pensamiento crítico
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
  • ...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."
Nigel Coutts

Curiosity, critical thinking and agency as responses to the Australian Bushfire Crisis ... - 5 views

  •  
    The bushfire crisis that is currently impacting Australia is beyond devastating. The scale of these fires defies the imagination. For so long now we have lived with skies laden with smoke as a constant and inescapable reminder that this is not an ordinary summer. This is weather and drought at its most extreme. Our only salvation will be rain but this is not the season for that and the long term forecasts are not promising. Our young people, in particular, will be affected and will need special care in the weeks and months to come. What might this mean for schools and for student agency?
Florence Dujardin

Looking to the future: M-learning with the iPad - 1 views

  •  
    Might Apple's new iPad gain unprecedented traction in education, or is just another example of the over-hyping of new devices in a time of technological determinism (Postman, 2000)? This paper explores the potential affordances and limitations of the Apple iPad in the wider context of emergent mobile learning theory, and the social and economic drivers that fuel technology development. Against the background of effective teaching and learning, the functionality offered by the iPad, and its potential uses for learning, are discussed. A critical review of the way the iPad may support learning, that draws on learning theory, contemporary articles and e-learning literature, suggests that the device may offer an exciting platform for consuming and creating content in a collaborative, interactive way. However, of greater importance is that effective, evidence-driven, innovative practices, combined with a clear-sighted assessment of the advantages and limitations of any product, should take priority over the device itself.
Randolph Hollingsworth

Five Competencies for Culturally Competent Teaching and Learning | Faculty Focus - 0 views

  •  
    1. Culturally competent teaching and learning facilitates critical reflection. 2. Culturally competent teaching and learning demands respect for others. 3. Culturally competent teaching and learning involves accommodating individual learners. 4. Culturally competent teaching and learning requires the use of intercultural communication skills. 5. Culturally competent teaching and learning requires focused activities and intentionally structured environments.
Marc Hamlin

Reintroducing students to Research - 144 views

  • First, we think research, broadly defined, is a valuable part of an undergraduate education. Even at a rudimentary level, engaging in research implicates students in the creation of knowledge. They need to understand that knowledge isn’t an inert substance they passively receive, but is continually created, debated, and reformulated—and they have a role to play in that process.
  • we recognize that research is situated in disciplinary frameworks and needs to be addressed in terms of distinct research traditions.
  • research is a complex and recursive process involving not just finding information but framing and refining a question, perhaps gathering primary data through field or lab work, choosing and evaluating appropriate evidence, negotiating different viewpoints, and composing some kind of response, all activities that are not linear but intertwined.
  • ...6 more annotations...
  • learning to conduct inquiry is itself complex and recursive. These skills need to be developed throughout a research project and throughout a student’s education.
  • the hybrid nature of libraries today requires students to master both traditional and emerging information formats, but the skills that students need to conduct effective inquiry—for example, those mentioned in your mission statement of reading critically and reasoning analytically—are the same whether the materials they use are in print or electronic.
  • Too often, traditional research paper assignments defeat their own purpose by implying that research is not discovery, but rather a report on what someone else has already discovered. More than once I’ve had to talk students out of abandoning a paper topic because, to their dismay, they find out it’s original. If they can’t find a source that says for them exactly what they want to say—better yet, five sources—they think they’ll get in trouble.
  • In reality, students doing researched writing typically spend a huge percentage of their time mapping out the research area before they can focus their research question. This is perfectly legitimate, though they often feel they’re spinning wheels. They have to do a good bit of reading before they really know what they’re looking for.
  • she has students seek out both primary and secondary sources, make choices among them, and develop some conclusions in presentations that are far from standard literary criticism. One lab focuses on collecting and seeking relationships among assigned literary texts and other primary sources from the second half of the twentieth century to illuminate American society in that time period.
  • For this lab, groups of students must find ten primary sources that relate in some way to literary texts under discussion and then—here’s the unusual bit—write three new verses of “America the Beautiful” that use the primary sources to illuminate a vision of American society. Instead of amber waves of grain and alabaster cities, they select images that reformulate the form of the song to represent another vision of the country. At the end of the course, her final essay assignment calls upon all of the work the previous labs have done, asking students to apply the skills they’ve practiced through the semester. While students in this course don’t do a single, big research project, they practice skills that will prepare them to do more sophisticated work later.
  •  
    What are our assumptions about how students get research done in the humanities? How do those assumptions affect our instruction, and what really is our students' approach to research?
Jennie Snyder

No Name-Calling Week: Cultivating Kindness and Playgrounds of Respect | Edutopia - 16 views

  • They recognized that the only real solution for the "bad stuff" was building a solid foundation of the good: the empathy, connections and healthy relationships that create effective learning communities and bolster individual happiness and success. Accountability and amends are key, but discipline, punishment and "zero-tolerance policies" are not the answer.
  • This approach to learning benchmarks students' development of empathy and understanding of others, their ability to form positive relationships and demonstrate effective approaches to conflict resolution as well as other critical qualities.
  • No Name-Calling Week provides a critical opportunity to bolster the empathy and understanding that underlie respect of others from the earliest years and evoke the joyful sounds of all children as they play on playgrounds of respect.
  •  
    Not zero tolerance, but rather full inclusion. 
Marc Patton

5 Critical Mistakes Schools Make With iPads (And How To Correct Them) | Edudemic - 208 views

  •  
    While we've witnessed many effective approaches to incorporating iPads successfully in the classroom, we're struck by the common mistakes many schools are making with iPads, mistakes that are in some cases crippling the success of these initiatives.
Cindy Edwards

Classroom Games and Technology: Classroom Game Lesson - Critical Thinking and Writing - 90 views

  •  
    Good information on the importance of goals and objectives when utilizing gaming in the classroom.
nslively1

Annotopia: Choices for children: why and how to let students decide - 2 views

  •  
    Kamii, C. (1991). Toward autonomy: The importance of critical thinking and choice making. School Psychology Review, 20(3), 382-388.
Roland Gesthuizen

13 Sacred Cows in Schools (and what to do about them) « Looking Up - 173 views

  • The aim is to start people thinking about those things we accept as part of schools, but no longer make sense
  • schools need to change, and quickly. The shift from standardization and conformity has already begun, and schools are too slow to respond
  •  
    "Educators must look critically at the "sacred cows" in schools, the vestiges of industrial age thinking, and decide if they have any place in an education system that tries to foster independent thinking and individuality."
Marc Patton

Educators Evaluating Quality Instructional Products | Achieve - 0 views

  •  
    Using a common definition of quality, EQuIP teams are learning how to use tools and processes to review the quality of materials (tasks, lesson, units, modules) that states will contribute for the purpose of receiving critical feedback for improvement.
Marc Patton

How Holly Mortimer Took Her Teaching Career Online | Edutopia - 0 views

  •  
    It takes a certain kind of educator to thrive as a full-time online teacher. Holly Mortimer describes how skills like responsiveness and flexibility are critical to create the best online learning experiences for students.
Mark Gleeson

C. M. Rubin: The Global Search for Education: Social Learning - 13 views

  •  
    Does Edmodo's Digital Citizen Starter Kit handle the challenge of educating kids to be good digital citizens? The answer is "Yes!" according to Bianca Hewes, a high school English teacher in Sydney, Australia who's also been doing awesome things with Edmodo since 2009 (including connecting 30 of her students with registered Edmodo teachers in the US, South America and England to mentor their individual writing projects). "Edmodo is a social network with training wheels," says Bianca. "By introducing it at a young age, teachers are able to develop the habits of the mind that are essential for students to be good digital citizens. Students learn to use appropriate language, to speak kindly and with compassion, to be supportive rather than critical, and to ask thoughtful questions."
alexis alexander

How to Save College | The Awl - 23 views

  •  
    "I wrote a thing last fall about massive open online courses (MOOCs, in the parlance), and the challenge that free or cheap online classes pose to business as usual in higher ed. In that piece, I compared the people running colleges today to music industry executives in the age of Napster. (This was not a flattering comparison.) Aaron Bady, a cultural critic and doctoral candidate at Berkeley, objected. I replied to Bady, one thing led to another, the slippery slope was slupped, and Maria Bustillos ended up refereeing the whole thing here on The Awl."
« First ‹ Previous 61 - 80 of 453 Next › Last »
Showing 20 items per page