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Nigel Coutts

We've always done it that way - The Learner's Way - 10 views

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    Experience shapes our understanding of the world and our responses to it. Our past influences our decision making and constrains our imaginations of what is and is not possible. Understanding this is a crucial step towards change; a first step towards discovering a better way to do things. Until we understand how our experience is limiting our imaginations we will continue to be restrained by the way things have always been done. 
Martin Burrett

Membit - 36 views

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    "Amazing augmented reality map-based app where users pin images to specific geo-locations for others to discover. Upload photos, clues for a virtually trail, or virtually displaying work around your school. Default set to share to contacts only for pupils to use safely, but teachers can share publicly."
Mark Morton

(26) C&R Videos - YouTube - 8 views

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    The Center for Courage & Renewal helps you discover the clarity and courage to bring your true self to your life's work. We are a nonprofit organization and a collaboration of facilitators offering retreats, programs, events, and consulting. Our Circle of Trust® approach reaches teachers, clergy, health care workers, nonprofit leaders, and anyone who wants to reconnect "soul and role."
Martin Burrett

5 things learnt in 5 years of teaching by @Mr_Gillett - 13 views

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    "Maybe it is something to do with starting something new, but when I started thinking about my new role as Head of Science, I thought I should write a blog. This led me to re-discover the blog I had wanted to start before starting teaching. Unsurprisingly, I failed to keep going with the blog during the first chaotic years of teaching, but now I think it will be really useful and so I am going to stick with it this time! Since the previous post was 5 years ago, I thought I would start with a very general blog about five of the big lessons I have learnt since starting teaching."
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."
anonymous

Art Project, powered by Google - 123 views

  • Explore museums from around the world, discover and view hundreds of artworks at incredible zoom levels, and even create and share your own collection of masterpieces.
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    Visit Art Museums virtually. Zoom in on the Art.
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    Take virtual tours of art museums all over the world.
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    View virtual art galleries from around the world with this great Google resource. http://ictmagic.wikispaces.com/Art,+Craft+&+Design
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    "Explore museums from around the world, discover and view hundreds of artworks at incredible zoom levels, and even create and share your own collection of masterpieces."
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    Museums from around the world. Nice place to view art work from multiple locations quickly.
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    The Art Project powered by Google features interior tours of seventeen world famous art museums. Select a museum from the list on the homepage & you can virtually tour it using the same interface style you experience in Google Maps Streetview. Inside the museum, just double click to zoom to a location. You can also open a floor plan overview & click on a room to navigate to that part of the museum. The best part of the Art Project powered by Google is the option to create your own artwork collection while visiting each museum. As you're touring a museum click on the "+" symbol on any work of art see it in greater detail, to add it to your collection, & to open background information about that work of art. To create a collection you must be signed into a Google account. This is a great way to start a story or writing prompt, or to explore history & cultures.
Martin Burrett

JPL Space Infographics - 20 views

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    "An amazing collection of inforgraphics from NASA's Jet Propulsion Laboratory showing aspects of space and the missions to discover its secrets."
Martin Burrett

Factitious - 32 views

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    "A fun quiz site where the user must discover whether a published news article is fake or real. A great site for older students when teaching about vitality of sources."
Martin Leicht

Distracted Minds: Why You Should Teach Like a Poet - 4 views

  • Routine is a great deadener of attention.
  • When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
  • same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
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  • Be astonished.
  • Pay attention.
  • Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.
  • We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.
  • Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
  • Close — and I mean really close — reading.
  • in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
  • Tell about it.
  • asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
    • Martin Leicht
       
      Metacognition exercise of sorts?
  • Engagement with objects.
  • pointed out anomalies and inconsistencies, and wondered
  • What? For the first step, students spend time just observing the object and taking notes.
  • So what? Students write down questions based on their observations and share them with one another.
  • Now what? The final stage shifts into more whole-class and teacher-centered discussion
  • Attention through assessments.
  • For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.
  • As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.
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    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
Nigel Coutts

Filling a Gap in our Professional Learning Caused by Social Distancing - The Learner's Way - 13 views

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    As schools and organisations move to remote education, there are potential gaps in our professional learning of which we should be aware. While many of us are discovering fresh opportunities for online and remote professional learning through podcasts, webinars and online courses, one of the most significant aspects of our professional learning has been curtailed thanks to social distancing.
Martin Burrett

Cell Structure - 24 views

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    "Discover and explore the micro world of cells with this well design flash resource. Browse interactive diagrams of various types of living cells and try the quiz to test your knowledge."
Martin Burrett

Video: Where does gold come from? - @UKEdVideo - UKEdChat.com - 12 views

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    "Discover how and where gold is formed… it's out of this world!"
Nigel Coutts

Fostering a dispositional perspective of curiosity - The Learner's Way - 10 views

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    When we are young, we are naturally curious. We ask many, many questions. As we encounter the world, our consciousness is bombarded by a plethora of opportunities for curiosity. And at this early stage of exploring and discovering the world we inhabit, there is no filter between our sense of curiosity and our expression of our it. If we are curious, we will be asking questions and heaven help anyone close enough to be a potential source of answers. - At school, our relationship to both curiosity and inquiry changes.
Paul Beaufait

The purpose of aggregating bookmarks for the Diigo in Education group - 144 views

As somewhat of a Johnny-come-lately to this group, since hearing of new Diigo outline functionality AND planned deprecation of Diigo lists, I believed this group would focus on the transition in Di...

aggregations Diigo education groups purposes moderation noise-to-signal signal-to-noise tools

anonymous

Anant Agarwal Discusses Free Online Courses Offered by a Harvard/M.I.T. Partnership. - ... - 4 views

  • Granted, there are no papers to grade, and assignments aren’t free-form, but how does one professor handle so many students? We had four teaching assistants, and my initial plan was that they would spend a lot of time on the discussion forum, answering questions. One night in the early days, I was on the forum at 2 a.m. when I saw a student ask a question, and I was typing my answer when I discovered that another student had typed an answer before I could. It was in the right direction, but not quite there, so I thought I could modify it, but then some other student jumped in with the right answer. It was fascinating to see how quickly students were helping each other. All we had to do was go in and say that it was a good answer. I actually instructed the T.A.’s not to answer so quickly, to let students work for an hour or two, and by and large they find the answers.
  • Most students who register for MOOCs don’t complete the course. Of the 154,763 who registered for “Circuits and Electronics,” fewer than half even got as far as looking at the first problem set, and only 7,157 passed the course. What do you make of that?
  • EdX operates under an honor code, with no way to verify that the student who registered is the one doing the work. Is that likely to change? It’s quite possible employers would be happy with an honor certificate. We’re looking at various methods of proctoring. We have talked about people going to centers to take exams. There are also companies that use the cameras inside a laptop or iPad to watch you and everything else that’s happening in the room while you take an exam, and that may be more scalable.
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  • And because we will have all this data on how students actually use our materials, there are opportunities for research on learning. We can watch how many attempts students made before they got an exercise right, and if they got it wrong, what they used to try to find a solution. Did they go to the textbook, go back and watch the video, go to the forum and post a question?
dmassicg

Twitter Boosts College Grades and Class Engagement [STUDY] - 1 views

  • Christina Greenhow, an assistant professor of education at Michigan State University, discovered that students using the microblogging service as part of their education are more engaged and have higher grades. In fact, she considers it “a new literary practice,” as she explains in her study “Twitteracy: Tweeting as a New form of Literary Practice.”
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.
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  • 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.
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    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?
Dora Hawkins

Discover Primary Science and Maths - 4 views

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    Great activities, movies and games of science and math K-12. www.primaryscience.ie
Paulo De Souza

Discover Life -- Tree of Life - 2 views

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    One of the best tree of life i stumbled upon.
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