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Ryan Trauman

Paige - Closing Argument - 0 views

ryantrauman.com/...81

102-ClosingArguments 102

shared by Ryan Trauman on 21 Apr 11 - No Cached
  • Freeman wrote in the research article
    • Ryan Trauman
      Ryan Trauman on 21 Apr 11
       
      Nice job coming back to Freeman. I would like to have seen more of this back-and-forth between the authors.
  • Mark Fenton expressed in the article “Battling America’s Epidemic of Physical Inactivity: Building More Walkable, Livable Communities” many different things we can do to help the obesity problem in America. Fenton states, “We must create environments in which physical activity becomes a routine part of the day for more Americans.” By creating a more pedestrian friendly atmosphere it will encourage people to walk or bicycle to their destination instead of always using their automobiles. I agree with what Fenton is trying to explain within in his research. Children learn by the examples that are being set around them. If they see everyone driving in their cars every where they go the only thing they have in their heads is, “I can’t wait until i can drive.” Instead of realizing they can go the same exact distance on their bike and be much more healthy than if they were driving a car. Fenton expresses, “We all must become role models by walking and cycling whenever possible and inviting others to do so with us.” People don’t like feeling abnormal; they want to do what other people are doing around them. Which is a very true assumption on Fentons part, we must become the role models for the youth around us. We set the standards of what is acceptable and what isn’t. We need to change the “norms” while it’s still possible and contribute to reversing the obesity problem
    • Ryan Trauman
      Ryan Trauman on 21 Apr 11
       
      Great job here dealing with your source material. You quote, come-to-terms, reflect on the material you've introduced, and offer your own position. Then you come back to another quote by Fenton, and do much of the same. Excellent!
Nigel Coutts

Learning and Cognitive Load - An Introduction - 60 views

thelearnersway.net/...cognitive-load-an-introduction

learning thinking cognition

shared by Nigel Coutts on 02 Aug 15 - No Cached
  • Nigel Coutts on 02 Aug 15
     
    What does it mean to have learned something? What occurs within the individual as they are learning and what changes occur as a result of that learning? At some point in the teaching/learning cycle we need to ask this question and ponder our definition of learning and the consequences that follow from our conclusions.
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 Leicht

Treehouse teaching and laundry art: Educators find creative ways to reach kids - 5 views

www.washingtonpost.com/...b-bc68-96af0daae728_story.html

learning zoom online teaching laundry

shared by Martin Leicht on 11 Jan 21 - No Cached
  • was also concerned about her students’ lack of engagement — so few were completing the assignments she emailed to parents
  • Playing with her family’s laundry marked the first time Maliah seemed happy — actually happy — since the start of the pandemic.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - happy - happy is good. Happy kids want to learn or are more likely to learn.
  • Nobody should ever be penalized or put at a disadvantage for the supplies they don’t have,” Dillingham thought to herself. “But everyone’s got laundry!”
  • ...19 more annotations...
  • Clark started an online fundraiser to pay for bikes. He raised more than $10,000, and neighbors donated dozens of bikes and helmets for the rides.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - a little digital citizenship too mixed in with online fund raising.
  • She couldn’t be sure whether her kids were uninterested or whether they lacked the necessary pens, paper and crayons at home.
  • He decided he would take his students on socially distanced bike rides across the city. “It was a leap of faith. I got extremely nervous. I was trying to find a way to connect with kids,” Clark said.
  • her young students are musical detectives, in search of learning. She teaches most grade levels and the school chorus.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - musical detectives searching for music.
  • t he’s found other ways to keep his students engaged and cycling the city. He invited students to a weekly entrepreneurship class for which they rode their bikes uptown from Dunbar to the gym where Clark works, Sweat DC. The students met with the owner of the gym and the owners of a nearby bar, Hook Hall, and the bagel shop Call Your Mother Deli to learn what it takes to run a business.
  • She wanted them to create their own composition, their own snowy-day song.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - used flipgrid for this
  • When Clark wanted to teach them about resilience, he took them through the hilly streets of Georgetown.
  • In lessons for older students, some days there were makeshift drums involved or recorders that students had taken home.
  • she was able to use the treehouse as a key part of her lessons.
  • She lugged a bookshelf, desk and heater into the 5-by-7-foot space, and ran an Ethernet cable from the house so she’d have Internet.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - properly set up
  • before climbing into what passes for her classroom in 2020: her daughters’ decade-old treehouse.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - different locals - maybe something with changing backgrounds.
  • So as one class studied architecture this fall, Daney, 54, encouraged them to walk in their neighborhood to take photos of houses of different styles: ranch, colonial, Victorian.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - use what you have around you.
  • nd he stuck with his usual method of helping students learn about the design process, asking them to prepare a meal. They started with ideas and research, made a plan, carried it out and evaluated it. The result: soups and pastas and pastries.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - edTech class on engineering and design
  • Kids need connection, he said. “I think they’re starving for conversation,” including with adults.
  • In fifth grade, students are expected to learn how to add, subtract, multiply and divide with whole numbers, decimals and fractions. Through a computer application the students have, they can program the robot to move a certain distance, stop, maybe even turn.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - use a robot or technology to achieve the same result.
  • With learning all-virtual, he packs a big Ziploc bag — for each student, each quarter — with things like fishing line, foam board, pipecleaners, magnets, Popsicle sticks and rubber bands. Whatever they will need for their projects.
  • And a lot of the math is a little sneaky. They think they are trying to get the robot to move, when they are actually measuring the angles to get it to move.”  
  • Others complete their math problems directly on the computer, which can lead to some troubles as they try to show their work.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - will share screen be viable.
  • When Kristin Gavaza interviewed for the music teacher position at Dorothy I. Height Elementary in the summer, she told the principal she had some ideas for how to create a festive concert while students were scattered and learning from home.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - picture references a complete teacher set up of a large screen and standing desk. Sure, she's video editing yet the concept carries to teaching class too.
  • Martin Leicht on 11 Jan 21
     
    Numerous creative examples to how educators promoted learning on line and worked to build engagement.
Adrienne Michetti

Where Everybody Knows Your (Screen) Name: Online Games as "Third Places" - 52 views

jcmc.indiana.edu/...steinkuehler.html

games gaming social

shared by Adrienne Michetti on 19 Nov 09 - Cached
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      This is, I think, why I'm more keen on today's social networks than I am on games -- games do not provide deep emotional support.
  • "bowling alone" hypothesis (Putnam, 2000), which suggests that media are displacing crucial civic and social institutions
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      Putnam - need to check this article. Interesting; not sure I agree.
  • ...80 more annotations...
  • According to Putnam, time spent with relatively passive and disengaging media has come at the expense of time spent on vital community-building activities.
  • The evidence to date is mixed
  • A core problem on both sides of the debate is an underlying assumption that all Internet use is more or less equivalent
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      SO True
  • It would be more plausible and empirically rigorous, then, to consider how specific forms of Internet activity impact civic and social engagement as a result of their particular underlying social architectures
  • combining conclusions from two different lines of MMO research conducted from two different perspectives—one from a media effects approach, the other from a sociocultural perspective on cognition and learning.
  • By providing spaces for social interaction and relationships beyond the workplace and home, MMOs have the capacity to function as one form of a new "third place" for informal sociability much like the pubs, coffee shops, and other hangouts of old.
  • loosely structured by open-ended narratives
  • They are known for their peculiar combination of designed "escapist fantasy" and emergent "social realism"
  • from two research projects: one an examination of the media effects of MMOs, the other an ethnographic study of cognition and culture in such contexts.
  • the conclusions of both studies were remarkably aligned.
  • the assumption that the most fruitful advances are sometimes made when congruent findings are discovered through disparate means
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      Love this quote.
  • demonstrate the "effects" of game play vs. no game play.
  • first project was a traditional effects study
  • second project, a qualitative study of cognition and learning in MMOs (
  • ethnography
  • sociocultural perspective
  • as a way to tease out what happens in the virtual setting of the game and how the people involved consider their own activities, the activities of others, and the contexts in which those activities takes place
  • a reasonable level of generalizability (random assignment to condition in the first study) and contextualization (ethnographic description of existing in-game social networks and practices in the second)
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      but I wonder why he chose these games -- this is not specified. Only their success in US and abroad?
  • brick-and-mortar "third places" in America where individuals can gather to socialize informally beyond the workplace and home
  • the exaggerated self-consciousness of individuals.
  • In what ways might MMOs function as new third places for informal sociability?
  • virtual environments have the potential to function as new (albeit digitally mediated) third places similar to pubs, coffee shops, and other hangouts.
  • in this section we analyze the structural form of MMOs that warrants this "third place" assertion.
  • eight defining characteristics of third places
  • there is no default obligation
  • To oblige any one person to play requires that explicit agreements be entered into by parties
  • the default assumption is that no one person is compelled to participate legally, financially, or otherwise.
  • Unless one transforms the virtual world of the game into a workplace (e.g., by taking on gainful employment as a virtual currency "farmer" for example, Dibbell, 2006; Steinkuehler, 2006a) or enters into such agreement, no one person is obligated to log in
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      and this is why, in my opinion, you will never see games in school. The game cannot be the Third Place because school is a Second Place.
  • Yee's (2006) interviews also reveal that individuals who game with romantic partners or family find that such joint engagement in the "other world" of MMOs allows them to redefine the nature and boundaries of their offline relationships, often in more equitable terms than what may be possible in day-to-day offline life
  • the relationships that play-partners have with one another offline are often "leveled" within the online world
  • an individual's rank and status in the home, workplace, or society are of no importance
  • appeal to people in part because they represent meritocracies otherwise unavailable in a world often filled with unfairness
  • conversation plays an analogous role
  • "In all such systems, linguistic interactions have been primary: users exchange messages that cement the social bonds between them, messages that reflect shared history and understandings (or misunderstandings) about the always evolving local norms for these interactions" (p. 22).
  • third places must also be easy to access
  • such that "one may go alone at almost any time of the day or evening with assurance that acquaintances will be there"
  • accessible directly from one's home, making them even more accommodating to individual schedules and preferences
  • barriers to initial access.
  • "What attracts a regular visitor to a third place is supplied not by management but by the fellow customer,"
  • "It is the regulars who give the place its character and who assure that on any given visit some of the gang will be there"
  • affective sense
  • As one informant satirically commented in an interview, "You go for the experience [points], you stay for the enlightening conversation.
  • engendering a sense of reliable mentorship and community stability.
  • Oldenburg argues that third places are characteristically homely, their d�cor defying tidiness and pretension whenever possible. MMOs do not fit this criterion in any literal sense
  • In neither of our investigations did the degree of formality exhibited by players within the game bear any relation to the degree of visual ornamentation of the players' immediate vicinity.
  • Thus, while the visual form of MMO environments does not fit Oldenburg's (1999) criterion of "low profile," the social function of those environments does.
  • Oldenburg (1999) argues that seriousness is anathema to a vibrant third place; instead, frivolity, verbal word play, and wit are essential.
  • The playful nature of MMOs is perhaps most apparent in what happens when individuals do bring gravity to the game.
  • the home-like quality of third places in rooting people
  • Participation becomes a regular part of daily life for players and, among regular gamemates such as guild members, exceptional absences (i.e., prolonged or unforeseen ones) are queried within the game or outside i
  • create an atmosphere of mutual caring that, while avoiding entangling obligations per se, creates a sense of rootedness to the extent that regularities exist, irregularities are duly noted, and, when concerning the welfare of any one regular, checked into
  • Are virtual communities really communities, or is physical proximity necessary?
  • Anderson (1991), who suggests that geographic proximity itself is neither a necessary nor sufficient condition for the emergence and preservation of "community."
  • Social capital (Coleman, 1988) works analogously to financial capital; it can be acquired and spent, but for social and personal gains rather than financial
  • operates cyclically within social networks because of their associated norms of reciprocity
  • bridging social capital is inclusive.
  • This form of social capital is marked by tentative relationships, yet what they lack in depth, they make up for in breadth.
  • On the one hand, bridging social capital provides little in the way of emotional support; on the other hand, such relationships can broaden social horizons or worldviews, providing access to information and new resources.
  • bonding social capital is exclusive.
  • social superglue.
  • it can also result in insularity.
  • shows that bridging and bonding social capital are tied to different social contexts, given the network of relationships they enable.
  • Virtual worlds appear to function best as bridging mechanisms rather than as bonding ones, although they do not entirely preclude social ties of the latter type.
  • One could argue that, if the benchmark for bonding social capital is the ability to acquire emotional, practical, or substantive support, then MMOs are not well set up for the task:
  • While deep affective relationships among players are possible, they are less likely to generate the same range of bonding benefits as real-world relationships because of players' geographic dispersion and the nature of third places themselves.
  • Despite differences in theoretical grounding and methodologies, our conclusions were remarkably similar across complementary macro- and micro-levels.
  • It is worth noting, however, that as gamers become more involved in long-term social networks such as guilds and their activities become more "hardcore" (e.g., marked by participation in large-scale collaborative problem-solving endeavors such as "raids" into difficult territories or castle sieges), the function of MMOs as "third places" begins to wane.
  • It may be, then, that the structure and function of MMOs as third places is one part of the "life cycle" for some gamers in a given title.
  • In such cases, MMOs appear to enable a different kind of sociability, one ostensibly recognizable as a "community" nonetheless.
  • However, our research findings indicate that this conclusion is uninformed. To argue that MMO game play is isolated and passive media consumption in place of informal social engagement is to ignore the nature of what participants actually do behind the computer screen
  • Perhaps it is not that contemporary media use has led to a decline in civic and social engagement, but rather that a decline in civic and social engagement has led to retribalization through contemporary media (McLuhan, 1964).
  • Such a view, however, ignores important nuances of what "community" means by pronouncing a given social group/place as either wholly "good" or "bad" without first specifying which functions the online community ought to fulfill.
  • Moreover, despite the semantics of the term, "weak" ties have been shown to be vital in communities, relationships, and opportunities.
  • is to what extent such environments shift the existing balance between bridging and bonding
  • In light of Putnam's evidence of the decline of crucial civic and social institutions, it may well be that the classification "lacking bridging social capital" best characterizes the everyday American citizen. T
  • Without bridging relationships, individuals remain sheltered from alternative viewpoints and cultures and largely ignorant of opportunities and information beyond their own closely bound social network.
  • it seems ironic that, now of all times, we would ignore one possible solution to our increasingly vexed relationship with diversity.
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