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Daniel Spielmann

Emergent Learning Model « The Heutagogic Archives - 41 views

  • Self-Organised Learning Environments (SOLE)
    • Daniel Spielmann
       
      What is the difference between SOLEs and PLEs?
  • The Open Context Model of Learning is a way of thinking about the relationships of learning such that a (teacher) develops both a subject understanding as well as an ability in the (learner) to take forward their learning in that subject.
  • What I hoped to do below with the ELM is to show how all learning can be complementary and, given that everyone wants to learn, how we can design learner-responsive resources, institutions and networks.
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  • three part structure of ELM
  • in our free time outside of institutions
  • comes from our own interests
  • interests of individuals
  • ocial process of learning
  • designs the pre-condition for social processes to emerge, which is the essence of informal learning
  • Informal Learning is the social processes that support self-organised learning in any context
  • structured learning opportunities without formal learning outcomes’
  • identified a process of resource creation that responded to learners interests
  • n adaptive model of resource creation
  • content creation toolkits
  • structuring of learning opportunities through resources
  • as the key process in non-formal learning
  • institutionalisation of processes surrounding learning
  • education as a system, rather than learning as a process
    • Daniel Spielmann
       
      What if they aren't? What's the system's answer to that then?
  • What formal learning, or education, has really become specialised in is maintaining itself as a set of institutions and buildings.
  • Formal learning is the process of administering and quality assuring the accreditation of learning and the qualifications
  • Non-formal learning is structured learning resources without formal learning outcomes.
  • So what ELM aims to do is to replace the notion of learning as being a process of accreditation, that occurs within an institutionally constrained and hierarchical system, with a series of processes that better matches how people actually learn, following interests, collaborating and finding resources.
  • more about meeting the needs and interests of human beings
  • we should start with the social processes of everyday life, and design a system that enables learning to naturally emerge
  • a) education; is a process organized by institutions who offer qualifications based on set texts to be used by learning groups in classes to meet accreditation criteria. Teachers provide resources and broker these educational processes. b) learning; is a process of problem-solving carried out by people individually or collaboratively by finding resources and discussing the emerging issues with trusted intermediaries.
  • People + Resources = Learning
Jeff Andersen

National Emergency Library : Free Texts : Free Download, Borrow and Streaming : Interne... - 19 views

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    National Emergency Library Announcing the National Emergency Library, a collection of books that supports emergency remote teaching, research activities, independent scholarship, and intellectual stimulation while universities, schools, training centers, and libraries are closed. Learn mor
trisha_poole

Emerging Technologies Conference 2008 | Faculty of Education | University of Wollongong - 14 views

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    Learning and teaching in higher education is experiencing rapid change, in part, as a result of the influences of emerging technologies. These proceedings are the refereed papers of the 2nd Annual Conference on Emerging Technologies conducted by the University of Wollongong's Centre for Educational Development and Interactive Resources (CEDIR) and the Faculty of Education's Research Centre for Interactive Learning Environments (RILE) between 18 - 20 June 2008. The conference provided a showcase for research into these technologies and an insight into the way they can be used to promote meaningful learning in the higher education sector. Papers have undergone a double blind peer refereeing process to Department of Education, Science and Training (DEST) standards. The papers have been assessed as providing information that increases the stock of knowledge and the use of this knowledge to devise new applications; they are original and have the potential to produce results; they represent substantial scholarly activity; and they have validity through a peer validation process. Further details of refereeing are included in the Conference Program available below.
Nigel Coutts

Rethinking Mathematics Education - The Learner's Way - 32 views

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    What becomes clear, as you dive further into the emerging research that connects what we know about learning, mindsets, dispositions for learning and the development of mathematical understandings, is that a new approach is required. We need to move away from memorisation and rule based simplifications of mathematics and embrace a model of learning that is challenging and exciting. We can and should be emerging all our students in the beauty and power of mathematics in learning environments full of multiple representations, rich dialogue and collaborative learning. 
Roland Gesthuizen

NMC Horizon Project | The New Media Consortium - 55 views

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    "The NMC Horizon Project, as the centerpiece of the NMC Emerging Technologies Initiative, charts the landscape of emerging technologies for teaching, learning, research, creative inquiry, and information management. Launched in 2002, it epitomizes the mission of the NMC to help educators and thought leaders across the world build upon the innovation happening at their institutions by providing them with expert research and analysis."
Maureen Greenbaum

Calls from Washington for streamlined regulation and emerging models | Inside Higher Ed - 0 views

  • more of online “innovations” like competency-based education.
  • reauthorization of the Higher Education Act might shake out.
  • flow of federal financial aid to a wide range of course providers, some of which look nothing like colleges.
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  • give state regulators a new option to either act as accreditors or create their own accreditation systems.
  • “States could accredit online courses, or hybrid models with elements on- and off-campus.”
  • any new money for those emerging models would likely come out of the coffers of traditional colleges.
  • cut back on red tape that prevents colleges from experimenting with ways to cut prices and boost student learning.
  • decentralized, more streamlined form of accreditation.
  • regional accreditors are doing a fairly good job. They are under enormous pressure to keep “bad actors” at bay while also encouraging experimentation. And he said accreditors usually get it right.
  • Andrew Kelly, however, likes Lee’s idea. Kelly, who is director of the American Enterprise Institute’s Center on Higher Education Reform, said it would create a credible alternative to the existing accreditation system, which the bill would leave intact.
  • eliminating bureaucracy in higher education regulation is a top priority
  • “Accreditation could also be available to specialized programs, individual courses, apprenticeships, professional credentialing and even competency-based tests,”
  • “The gateway to education reform is education oversight reform,”
  • broad, bipartisan agreement that federal aid policies have not kept pace with new approaches to higher education.
  • expansion of competency-based education. And he said the federal rules governing financial aid make it hard for colleges to go big with those programs.
  • accreditors is that they favor the status quo, in part because they are membership organizations of academics that essentially practice self-regulation.
  • “The technology has reached the point where it really can improve learning,” he said, adding that “it can lower the costs.”
  • changes to the existing accreditation system that might make it easier for competency-based and other emerging forms of online education to spread.
  • offering competency-based degrees through a process called direct assessment, which is completely de-coupled from the credit-hour standard.
Jess Hazlewood

"Where's the Writer" TETYC March 2014 - 43 views

  • “Responders Are Taught, Not Born”
  • We contend that student writers will see greater value in peer response if they develop tools that allow them to participate more actively in the feedback process. With teaching suggestions like those above, writers can learn how to re-flect on their experiences with peer response. They can also learn to identify their needs as writers and how to ask questions that will solicit the feedback they need.
  • We like to limit each mock session to no more than seven minutes of back and forth between respondent and writer.
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  • class suggests that the writer’s question
  • This becomes a teachable moment. When the respondent asks for assistance from the class, this break in the session becomes an opportunity for the class to assist the writer and the respondent. The writer appears stuck, not knowing what to ask. And the respondent appears perplexed, too.
  • we follow Carl Anderson’s suggestion to teach students how to ask questions about their writing through role-playing.
  • dynamic list that students freely update throughout the semester on the class classro
  • organize the questions within categories such as tone, content, evidence-based support, style, and logistics
  • The end result is a robust list of questions for writers to ask of their respondents.
  • in-class discussion about effective and less effective questions for writers
  • raft three to five questions they have about the assignment to ask of their peers as they prepare to write or revise their assignment. When appropriate, we can direct our students to the course text, where there are
  • : pointing, summarizing, and reflecting
  • Students’ comments often point to their struggle to position themselves in peer response.
  • “What would it take for you to be in-vested as writers in peer response?” Students’ typical responses include the following:>“I need to know what to ask.” >“I don’t know what to ask about my writing, except for things like punctua-tion and grammar.”>“Does the person reading my work really know what the assignment is? Bet-ter than I do?”>“I’m not really sure if I’m supposed to talk or ask questions when someone is giving me feedback about my work, so I don’t really do anything. They write stuff on my paper. Sometimes I read it if I can, but I don’t really know what to do with it.”
  • it is important to offer activities to ensure that both respondents and writers are able to articulate a clear purpose of what they are trying to accomplish. These activities, guided by the pedagogies used to prepare writing center consultants
  • devote more attention to the respondent than to the writer, we may unwit-tingly be encouraging writers to be bystanders, rather than active participants, in the response process.
  • , “Feedback: What Works for You and How Do You Get It?”
  • highlight the value of both giving and getting feedback:In 56 pages near the end of this book, we’ve explained all the good methods we know for getting feedback from classmates on your writing. . . . The ability to give responses to your classmates’ writing and to get their responses to your own writing may be the most important thing you learn from this book. (B
  • we question whether textbooks provide emergent writers with enough tools or explicit models to engage actively in peer response conversations.
  • While such questions are helpful to emerging writers, who depend on modeling, they lack explanation about what makes them “helpful” questions. As a result, emerging writers may perceive them as a prescriptive set of questions that must be answered (or worse, a set of questions to be “given over” to a respondent), rather than what they are intended to be: questions that could advance the writer’s thoughts and agenda.
  • this information is limited to the instructor’s manual
  • llustrates the difference be-tween vague and helpful questions, pointing out that helpful questions
  • You will need to train students to ask good questions, which will help reviewers target their attention.Questions like “How can I make this draft better?” “What grade do you think this will get?” and “What did you think?” are not helpful, as they are vague and don’t reflect anything about the writer’s own thoughts. Questions like “Am I getting off topic in the introduction when I talk about walking my sister to the corner on her first day of school?” or “Does my tone on page 3 seem harsh? I’m trying to be fair to the people who disagree with the decision I’m describing” help readers understand the writer’s purpose and will set up good conversations. (Harrington 14, emphasis added
  • uestions” when soliciting feedback (like the advice we found in many textbooks), she also provides explicit examples for doing so
  • he most explicit advice for writers about ask-ing questions and, in effect, setting up good conversations is buried in an instruc-tor’s manual for The Allyn & Bacon Guide to Writing. In thi
  • “Getting Response” chapter later in the book, they will benefit from the textbook authors’ instructions that they should in fact use questions that will help them solicit their feedback
  • dependent on what parts of the textbook they choose to read
  • point writers to a specific set of questions that they should ask of their respondents. Such instructions take a notable step toward shifting the locus of control from the respondent to helping writers engage their peers in conversation.
  • there is no mention that writers might use them for purposes of soliciting feedback.
  • we see an opportunity for modeling that is not fully realized.
  • we argue that Faigley offers respondents specific examples that empower them to actively engage the process and give feedback. We contend that emergent writers need a similar level of instruction if they are to be agents in response.
  • textbook authors offer few examples for how to get specific feedback
  • Peter Elbow and Pat Belanoff ’s first edition of A Community of Writers published in 1995, in which eleven “Sharing and Responding” techniques, d
  • we worked to understand how textbooks highlight the writer’s role in peer response.
  • We wanted to know what books tell writers about asking questions
  • lthough we do not discount the importance of teaching respondents how to give feedback, we argue that writers must also be taught how to request the feedback they desire.
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    Writer's role in soliciting feedback during peer edit. Suggestions for modeling and training.
Randolph Hollingsworth

Twitter vs. Zombies - 33 views

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    Inspired by the popular campus game Humans vs. Zombies, join @Jessifer and @allistelling for an epic zombiefied experiment in Twitter literacy, gamification, collaboration, and emergent learning. Part flash-mob. Part Hunger-Games. Part Twitter-pocalypse. Part digital feeding frenzy. Part micro-MOOC. Part giant game of Twitter tag. Band together your most trusted Twitter allies to defend against a virtual Zombie horde. Collect canned goods, store water, watch your hashtags, and sleep with one eye open. THE RULES TO JOIN THE GAME: Register on this page. Commit to posting at least 10 tweets per day. THEN, TO PLAY: 1. A ZOMBIE can #bite (to attack) once every 30 minutes. A bite will turn a HUMAN to a ZOMBIE in exactly five minutes. A #bite can only be sent to a player who has been active on Twitter in the last five mins. 2. A HUMAN can #dodge (protect yourself) once per hour and #swipe (protect someone else) once per hour. 3. When you are bitten, you have five mins to reply to the ZOMBIE with #dodge or have another player reply to you and the zombie with #swipe. A turned HUMAN must update the Twitter vs. Zombies Scoreboard by changing his/her status to ZOMBIE. 4. The rules are emergent. There will be challenges, amendments, and rule adaptations as suggested by the community and implemented by administrators. Keep your eyes on the blog and #TvsZ for updates. Anatomy of an action tweet: [@name(s)] [body of tweet with action tag #bite, #dodge, or #swipe playfully inserted] [game tag: #TvsZ] Example of a bite/dodge: @DigiWriMo attacks: "@moocmooc I want to #bite your lovely flesh. #TvsZ @moocmooc dodges: "@DigiWriMo No you don't. I have not used #dodge in an hour. #TvsZ Example of a bite/swipe: @DigiWriMo attacks: "@moocmooc What's that lump on your neck? Is that some kind of #bite? #TvsZ @Jessifer defends: "@DigiWriMo @moocmooc I #swipe your hungry beak. [pets @moocmooc] #TvsZ The game is beta, and we will be crowd-sourcing the rules as it's played.
Nigel Coutts

The Emerging Trend of Connected Institutions - The Learner's Way - 8 views

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    The book 'Non Obvious' by Rohit Bhargava present an intriguing exploration of how careful observation and thought can reveal emerging trends and as the subtitle suggest 'predict the future'. For educators the ability to identify the trends which will deliver the best outcomes for our students from the noise of fads is alluring. While the talk of new technologies, of learner centric pedagogies and teaching for lifelong learning play the part of the obvious trends in education identifying the non-obvious trend is a more challenging endeavour. 
Mark Gleeson

iTeach: The best 1:1 device is good teaching - 11 views

  • Devices come and go, but progressive teachers who adapt will sustain longer than any device
  • Usually this conversation is focused on what hardware works best for teaching and learning. While this is an important decision to make, it should not be the focus. In fact, the best devices a school can employ are great teachers.
  • We have reached a point in education technology where devices are, for the most part, adaptable.
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  • the best device a school can roll out is a teacher who can adapt to new and emerging technologies, does not always require formal training for learning and staying current, and is not tethered to a product (PowerPoint) in order to teach.
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    As I mentioned earlier, the best device a school can roll out is a teacher who can adapt to new and emerging technologies, does not always require formal training for learning and staying current, and is not tethered to a product (PowerPoint) in order to teach. Education technology will continue to progress and part of this evolution will be for students and teachers to stay current with both curriculum and digital literacy. Even in the absence of technology, a great teacher will continually seek out ways to engage his or her students in great lessons, simulations or challenges.  
Paul McKean

educational-origami - Bloom's Digital Taxonomy - 145 views

  • This is an update to Bloom's Revised Taxonomy which attempts to account for the new behaviours and actions emerging as technology advances and becomes more ubiquitous.
  • Details last edit Oct 9, 2009 12:19 am by achurches - 56 revisions - locked Tags a churches blooms blooms digital taxonomy blooms revised taxonomy digital edorigami learning a churches blooms blooms digital taxonomy blooms revised taxonomy digital edorigami learning a churches blooms blooms digital taxonomy blooms revised taxonomy digital edorigami learning Type a tag name. Press comma or enter to add another. Cancel Table of Contents Synopsis: A little Disclaimer: Introduction and Background: Bloom's Domains of learning The Cognitive Domain - Bloom's Taxonomy Bloom's Revised Taxonomy Bloom's Revised Taxonomy Sub Categories Bloom's as a learning process. Is it important where you start? Must I start with remembering? Bloom's Digital Taxonomy Bloom's Digital Taxonomy Summary Map Bloom's Digital Taxonomy and Collaboration. Resources: Web 2.0 Tutorials Acknowledgements:This is the introduction to Bloom's Digital Taxonomy. The different taxonomical levels can be viewed individually via the navigation bar or below this introduction as embedded pages. Synopsis:  This is an update to Bloom's Revised Taxonomy which attempts to account for the new behaviours and actions emerging as technology advances and becomes more ubiquitous. Bloom's Revised Taxonomy accounts for many of the traditional c
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    This is an update to Bloom's Revised Taxonomy which attempts to account for the new behaviours and actions emerging as technology advances and becomes more ubiquitous.
Lauren Rosen

85+ Resources: Educator Guide for Integrating Social Media - 68 views

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    Emergent by design is an evolving post about the best media resources for educators. Includes links to articles, videos, blogs and wikis to follow, and much more.
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    Emergent by design is an evolving post about the best media resources for educators. Includes links to articles, videos, blogs and wikis to follow, and much more.
Andrew McCluskey

Occupy Your Brain - 111 views

  • One of the most profound changes that occurs when modern schooling is introduced into traditional societies around the world is a radical shift in the locus of power and control over learning from children, families, and communities to ever more centralized systems of authority.
  • Once learning is institutionalized under a central authority, both freedom for the individual and respect for the local are radically curtailed.  The child in a classroom generally finds herself in a situation where she may not move, speak, laugh, sing, eat, drink, read, think her own thoughts, or even  use the toilet without explicit permission from an authority figure.
  • In what should be considered a chilling development, there are murmurings of the idea of creating global standards for education – in other words, the creation of a single centralized authority dictating what every child on the planet must learn.
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  • In “developed” societies, we are so accustomed to centralized control over learning that it has become functionally invisible to us, and most people accept it as natural, inevitable, and consistent with the principles of freedom and democracy.   We assume that this central authority, because it is associated with something that seems like an unequivocal good – “education” – must itself be fundamentally good, a sort of benevolent dictatorship of the intellect. 
  • We endorse strict legal codes which render this process compulsory, and in a truly Orwellian twist, many of us now view it as a fundamental human right to be legally compelled to learn what a higher authority tells us to learn.
  • And yet the idea of centrally-controlled education is as problematic as the idea of centrally-controlled media – and for exactly the same reasons.
  • The First Amendment of the U.S. Constitution was designed to protect all forms of communication, information-sharing, knowledge, opinion and belief – what the Supreme Court has termed “the sphere of intellect and spirit” – from government control.
  • by the mid-19th century, with Indians still to conquer and waves of immigrants to assimilate, the temptation to find a way to manage the minds of an increasingly diverse and independent-minded population became too great to resist, and the idea of the Common School was born.
  • We would keep our freedom of speech and press, but first we would all be well-schooled by those in power.
  • A deeply democratic idea — the free and equal education of every child — was wedded to a deeply anti-democratic idea — that this education would be controlled from the top down by state-appointed educrats.
  • The fundamental point of the Occupy Wall Street movement is that the apparatus of democratic government has been completely bought and paid for by a tiny number of grotesquely wealthy individuals, corporations, and lobbying groups.  Our votes no longer matter.  Our wishes no longer count.  Our power as citizens has been sold to the highest bidder.
  • Our kids are so drowned in disconnected information that it becomes quite random what they do and don’t remember, and they’re so overburdened with endless homework and tests that they have little time or energy to pay attention to what’s happening in the world around them.
  • If in ten years we can create Wikipedia out of thin air, what could we create if we trusted our children, our teachers, our parents, our neighbors, to generate community learning webs that are open, alive, and responsive to individual needs and aspirations?  What could we create if instead of trying to “scale up” every innovation into a monolithic bureaucracy we “scaled down” to allow local and individual control, freedom, experimentation, and diversity?
  • The most academically “gifted” students excel at obedience, instinctively shaping their thinking to the prescribed curriculum and unconsciously framing out of their awareness ideas that won’t earn the praise of their superiors.  Those who resist sitting still for this process are marginalized, labeled as less intelligent or even as mildly brain-damaged, and, increasingly, drugged into compliance.
  • the very root, the very essence, of any theory of democratic liberty is a basic trust in the fundamental intelligence of the ordinary person.   Democracy rests on the premise that the ordinary person — the waitress, the carpenter, the shopkeeper — is competent to make her own judgments about matters of domestic policy, international affairs, taxes, justice, peace, and war, and that the government must abide by the decisions of ordinary people, not vice versa.  Of course that’s not the way our system really works, and never has been.   But most of us recall at some deep level of our beings that any vision of a just world relies on this fundamental respect for the common sense of the ordinary human being.
  • This is what we spend our childhood in school unlearning. 
  • If before we reach the age of majority we must submit our brains for twelve years of evaluation and control by government experts, are we then truly free to exercise our vote according to the dictates of our own common sense and conscience?  Do we even know what our own common sense is anymore?
  • We live in a country where a serious candidate for the Presidency is unaware that China has nuclear weapons, where half the population does not understand that Saddam Hussein had nothing to do with 9/11, where nobody pays attention as Congress dismantles the securities regulations that limit the power of the banks, where 45% of American high school students graduate without knowing that the First Amendment of the Constitution guarantees freedom of the press.   At what point do we begin to ask ourselves if we are trying to control quality in the wrong way?
  • Human beings, collaborating with one another in voluntary relationships, communicating and checking and counter-checking and elaborating and expanding on one another’s knowledge and intelligence, have created a collective public resource more vast and more alive than anything that has ever existed on the planet.
  • But this is not a paeon to technology; this is about what human intelligence is capable of when people are free to interact in open, horizontal, non-hierarchical networks of communication and collaboration.
  • Positive social change has occurred not through top-down, hierarchically controlled organizations, but through what the Berkana Institute calls “emergence,” where people begin networking and forming voluntary communities of practice. When the goal is to maximize the functioning of human intelligence, you need to activate the unique skills, talents, and knowledge bases of diverse individuals, not put everybody through a uniform mill to produce uniform results. 
  • You need a non-punitive structure that encourages collaboration rather than competition, risk-taking rather than mistake-avoidance, and innovation rather than repetition of known quantities.
  • if we really want to return power to the 99% in a lasting, stable, sustainable way, we need to begin the work of creating open, egalitarian, horizontal networks of learning in our communities.
  • They are taught to focus on competing with each other and gaming the system rather than on gaining a deep understanding of the way power flows through their world.
  • And what could we create, what ecological problems could we solve, what despair might we alleviate, if instead of imposing our rigid curriculum and the destructive economy it serves on the entire world, we embraced as part of our vast collective intelligence the wisdom and knowledge of the world’s thousands of sustainable indigenous cultures?
  • They knew this about their situation: nobody was on their side.  Certainly not the moneyed classes and the economic system, and not the government, either.  So if they were going to change anything, it had to come out of themselves.
  • As our climate heats up, as mountaintops are removed from Orissa to West Virginia, as the oceans fill with plastic and soils become too contaminated to grow food, as the economy crumbles and children go hungry and the 0.001% grows so concentrated, so powerful, so wealthy that democracy becomes impossible, it’s time to ask ourselves; who’s educating us?  To what end?  The Adivasis are occupying their forests and mountains as our children are occupying our cities and parks.  But they understand that the first thing they must take back is their common sense. 
  • They must occupy their brains.
  • Isn’t it time for us to do the same?
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    Carol Black, creator of the documentary, "Schooling the World" discusses the conflicting ideas of centralized control of education and standardization against the so-called freedom to think independently--"what the Supreme Court has termed 'the sphere of intellect and spirit" (Black, 2012). Root questions: "who's educating us? to what end?" (Black, 2012).
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    This is a must read. Carol Black echoes here many of the ideas of Paulo Freire, John Taylor Gatto and the like.
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."
Randolph Hollingsworth

Career and Technical Education: Five Ways That Pay Along the Way to the B.A. - 1 views

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    New report from Center on Education and the Workforce, Georgetown University, September 2012, by Anthony P. Carnevale, Tamara Jayasundera, Andrew R. Hanson - Daniela Fairchild of the Thomas B. Fordham Institute writes in The Education Gadfly Weekly: "At 31 percent, the United States currently ranks second among OECD nations-behind Norway-for the percentage of its workforce with a four-year college education. That's the good news. The bad news is that we rank sixteenth for the percentage of our workforce with a sub-baccalaureate education (think: postsecondary and industry-based certificates, associate's degrees). Yet a swath of jobs in America calls for just that sort of preparation, which often begins in high school. Dubbed "middle jobs" in this report by the Center on Education and the Workforce, these employment opportunities pay at least $35,000 a year and are divided among white- and blue-collar work. Yet they are largely ignored in our era of "college for all." In two parts, this report delineates five major categories of career and technical education (CTE), then lists specific occupations that require this type of education. It's full of facts and figures and an excellent resource for those looking to expand rigorous CTE in the U.S. Most importantly, it presents this imperative: Collect data on students who emerge from these programs. By tracking their job placements and wage earnings, we can begin to rate CTE programs, shutter those that are ineffective, and scale up those that are successful. If CTE is ever to gain traction in the U.S.-and shed the stigma of being low-level voc-tech education for kids who can't quite make it academically-this will be a necessary first step."
Florence Dujardin

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

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    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.
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