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That's what we should be teaching humanities students—to look at what went wrong and figure out how to learn from it

kind of administrator who is not afraid to take chances for fear of failure.

Humans, who are limited by slow biological evolution,

fooling a high proportion of people into believing they are talking to a human.

algorithms

believes it will come in the next few decades.

But he is betting that AI is going to be a positive force.

destroy millions of jobs.

Elon Musk has warned that AI is "our biggest existential threat".

"The development of full artificial intelligence could spell the end of the human race."

"More must be done by the internet companies to counter the threat, but the difficulty is to do this without sacrificing freedom and privacy."

write much faster with his new system.

he didn't want a more natural voice.

children who need a computer voice

the teacher was no longer there to "punish them" or "grade them down". Instead the teacher was there to help them reach their goal. This is much more of an environment built around success and motivation versus failure.

computers are able to do what computers do well. Humans are freed up to do what humans do best.

Assessment needs to be based on where each individual child started and then grew to and finally ended up in a particular year, versus a snapshot once a year view of an entire school

we must be mindful of any cost associated with allowing ourselves to devolve to a more machine-like state.

Of greatest importance, however, is the status of our thinking, understanding how we think and the effect new technologies have on our cognitive processes. This debate extends beyond the neuroscience to questions relating to what is worth knowing and what mental functions are worth preserving at their present level of development

As a senior high school teacher, one of my greatest bugbears is the reluctance of students to reflect on the information they have collected and plan their essays. Rather, some expect to Google their entire essay, often skipping from one hyperlink to the next until they find something that appears to be relevant, then pasting it into their essay, frequently oblivious to academic honesty and coherence of argument. The ability to discern reliability of sources is also severely lacking

A primary role of educators is to foster qualities that are distinctly human: our ability to reflect, reason and imagine

In the curricula of tomorrow this may entail identifying topics and tasks that begin with an instruction to turn all electronic devices off.

the computer, keeping detailed records on student performance and using these records in making decisions about what is next to be presented to the student.

In our traditional learning environments, some students learn and some do not. It is this second group of students that we want to help.

problem of almost all modern learning is the lecture, a noninteractive way of learning

, on a moment-to-moment basis, just what the student knows and just what learning problems are occurring

It begins immediately with a question, with no preceding text.

experience the joy of discovery.

tutorial approach to learning makes it possible for everyone to learn.

critical factor is that we can react to individual student problems

key concept for structuring highly interactive learning experiences is the Benjamin Bloom concept of mastery learning.

goal is for everyone to learn everything to the mastery level, grades will no longer be useful

A student who has not learned in one way probably needs a different approach, rather than another go-round with the material that was not previously successful in assisting learning.

In such an environment, learning and evaluation are no longer separate activities but are part of the same process, intimately blended. So the student is not conscious of taking tests, and we avoid the problems of cheating.

highly interactive learning is intrinsically motivating. Motivation is particularly important in a distance-learning environment, since none of the "threats" of the classroom, such as low grades, are available.

mastery-based computer segment could also offer human contact. Small groups could work together, either locally or remotely via electronic communication.

existing authoring systems. Since they were, and still are, mostly directed toward supplying information, these were inadequate for creating highly interactive software.

Bertrand Ibrahim at the University of Geneva,

omputer stores much of the information as the students progress through the material.

Teaching faculty, in the sense that we know them today, may cease to exist, except for in smaller, advanced courses. But their skills and experiences will be important in the design of learning modules.

High costs of development can lead to low costs per student, if many students use the material.

$30,000 per student-hour of high-quality learning material

highly effective highly interactive distance-learning courses would have a large potential market, making them much cheaper per student than current courses, and if well developed, they will be much superior for almost all students

The typical approach is to give some released time to faculty and to give limited support for programming and media production. It is unlikely, almost impossible, that good learning material will be developed this way.

Universities are too stuck in their current ways of doing things to be able to compete with well-developed material from "outside." Most university faculty and administrators do not appreciate the current problems of learning and so are not prepared for these future directions.

The true measure of a language isn’t how it uses semicolons; it’s the standard library of each language. A language is software for making software. The standard library is a set of premade software that you can reuse and reapply.

A coder needs to be able to quickly examine and identify which giant, complex library is the one that’s the most recently and actively updated and the best match for his or her current needs. A coder needs to be a good listener.

Code isn’t just obscure commands in a file. It requires you to have a map in your head, to know where the good libraries, the best documentation, and the most helpful message boards are located. If you don’t know where those things are, you will spend all of your time searching, instead of building cool new things.

Some tools are better for certain jobs.

C is a simple language, simple like a shotgun that can blow off your foot. It allows you to manage every last part of a computer—the memory, files, a hard drive—which is great if you’re meticulous and dangerous if you’re sloppy

Object-oriented programming is, at its essence, a filing system for code.

Where C tried to make it easier to do computer things, Smalltalk tried to make it easier to do human things.

Style and usage matter; sometimes programmers recommend Strunk & White’s The Elements of Style—that’s right, the one about the English language. Its focus on efficient usage resonates with programmers. The idiom of a language is part of its communal identity.

Coding is a culture of blurters.

Programmers carve out a sliver of cognitive territory for themselves and go to conferences, and yet they know their position is vulnerable.

Programmers are often angry because they’re often scared.

Programming is a task that rewards intense focus and can be done with a small group or even in isolation.

For a truly gifted programmer, writing code is a side effect of thought

As a class, programmers are easily bored, love novelty, and are obsessed with various forms of productivity enhancement.

“Most programming languages are partly a way of expressing things in terms of other things and partly a basic set of given things.”

Of course, while we were trying to build a bookstore, we actually built the death of bookstores—that seems to happen a lot in the business. You set out to do something cool and end up destroying lots of things that came before.

Professional activity has become so knowledge-intensive and fluid in content that learning has become an integral and inseparable part of "adult" work activities.

require educational tools and environments whose primary aim is to help cultivate the desire to learn and create, and not to simply communicate subject matter divorced from meaningful and personalized activity.

current uses of technology in education: it is used as an add-on to existing practices rather than a catalyst for fundamentally rethinking what education should be about in the next century

information technologies have been used to mechanize old ways of doing business‹rather than fundamentally rethinking the underlying work processes and promoting new ways to create artifacts and knowledge.

Instructionist approaches are not changed by the fact that information is disseminated by an intelligent tutoring system.

ubstantial empirical evidence that the chief impediments to learning are not cognitive. It is not that students cannot learn; it is that they are not well motivated to learn.

Most of what any individual "knows" today is not in her or his head, but is out in the world (e.g., in other human heads or embedded in media).

challenge of whether we can create learning environments in which learners work hard, not because they have to, but because they want to. We need to alter the perception that serious learning has to be unpleasant rather than personally meaningful, empowering, engaging, and even fun.

making information relevant to the task at hand, providing challenges matched to current skills, creating communities (among peers, over the net), and providing access to real practitioners and experts.

What "basic skills" are required in a world in which occupational knowledge and skills become obsolete in years rather than decades?

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.

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."

Students should be counseled not only on the risks to their physical safety, but also on the ways that the texts they are composing today, and believe they have eliminated, often have lives beyond their computers, and may reappear in the future at a most inopportune time.

learn methods of critically analyzing the ways in which others are using multiple semiotic systems to convince them to participate, to buy, to believe, and to resist a wide range of appeals

It also implies the process of uncovering one’s own cultural, social, political and personal (e.g. age, gender) backgrounds and understanding how these backgrounds can and often do influence one’s own ways of communicating and interacting with others in virtual and face-to-face encounters.

nstances of anti-social behavior in online communication such as using hurtful language and discriminating among certain members of virtual communities have been reported.

allows their members to construct and act out identities that may not necessarily be their real selves and thus lose a sense of responsibility toward others

Professional development for teachers and teacher educators must be ongoing, stressing purposeful integration for the curriculum and content, rather than merely technical operation. It also needs to provide institutional and instructional support systems to enable teachers to learn and experiment with new technologies. Offering release time, coordinating student laptop initiative programs or providing wireless laptop carts for classroom use, locating computer labs in accessible places to each teacher, scheduling lab sessions acceptable for each teacher, and providing alternative scheduling for professional development sessions so that all teachers can attend, are a few examples of such systems. Finally, teachers and students must be provided with technical support as they work with technology. Such assistance must be reliable, on-demand, and timely for each teacher and student in each classroom.

educators must address plagiarism, ownership, and authorship in their classrooms.

strategies to assess the quality of information and writing on the Web

help students develop netiquette

Such netiquette is thus not only about courtesy; more importantly, it is about tolerance and acceptance of people with diverse languages, cultures, and worldviews.

Teachers and teacher educators must examine with students the social processes through which humans grow individually and socially, and they must expose the potentially negative consequences of one’s individual actions. In doing so, teachers and educators will be able to reinforce the concept of learning as a social process, involving negotiation, dialogue, and learning from each other, and as a thinking process, requiring self-directed learning as well as critical analysis and synthesis of information in the process of meaning-making and developing informed perceptions of the world.

Thus requiring the television program to be judged by the same assessment methods as for the classroom lecture unfairly measures the potential value of the TV program. In this example, it may be better to use both methods: didactic teaching to teach understanding, then a documentary approach to apply that understanding. (Note that a television program could do both, but the classroom lecture could not.)

many media are better than one.

The use of different media also allows for more individualization and personalization of the learning, better suiting learners with different learning styles and needs.

technology on its own does not lead to the transfer of meaning.

This of course is what we do with technology in education. We try either to incorporate new technology into old formats, as with clickers and lecture capture, or we try to create the classroom in virtual space, as we do with learning management systems. What we are still developing but not yet clearly recognizing are formats, symbols systems and organizational structures that exploit the unique characteristics of the Internet as a medium.

Given the need to create and interpret meaning when using media, trying to use computers to replace or substitute for humans in the education process is likely to be a major mistake, at least until computers have much greater facility to recognize, understand and apply semantics, value systems, and organizational factors,

it is equally a mistake to rely only on the symbol systems, cultural values and organizational structures of classroom teaching as the means of judging the effectiveness or appropriateness of the Internet as an educational medium.

which makes transformational change

ifficult

In Finland, the goals of education are explicitly linked to competitiveness, research and innovation.

nowhere in the UK do they really drive the terms under which schools are assessed.

In England, the government has defined its approach as being based on curriculum rigour.

This lack of a comprehensive statement of the achievement we are looking for schools to deliver is a key failing.

best schools

areas of high disadvantage

define the outcome they need

in the face of the complex and inconsistent demands the system places on them.

Our system should reward schools making brave decisions which focus on boosting long-term outcomes for pupils, not punish them.

It should be able to survive changes of government and provide the test against which policy changes and school actions are judged

shine the light on whether the system is truly addressing the needs of all students, rather than just the few required to meet a government target.

Focus on raising the ambition and attainment for every child as far as their abilities permit

guide young people effectively on their choice of enabling subjects…

thos and culture that build the social skills also essential to progress in life and work, and allow them time to focus on this

Have a school accountability and assessment framework that supports these goals rather than defining them.

social literacy

a range of core subjects

ncluding critically maths, English, the sciences

effective use and understanding of computer science.

‘enabling subjects’

humanities, languages, arts, technical and practically-based subjects

equip a young person to move on

o university, or to an apprenticeship or vocational qualification

a set of behaviours and attitudes,

An exclusive focus on subjects for study would fail to equip young people with these, though rigour in the curriculum does help

‘employability skills’

Behaviours can only be developed over time, through the entire path of a young person’s life and their progress through the school system.

right context at school

A supportive culture, pastoral care and the right ethos are all needed to make the difference.

a long tail of pupils failing to achieve the desired outcomes can no longer be accepted.

enable all of our young citizens to reach the desired standards.

conflicting expectations placed on schools.

renewed system should be able to judge performance against the goals based on more complex metrics.

judgement

on overall culture and ethos, teaching and governance

group of data points, including testing but also outcomes data.

Development of a clear, widely-owned and stable statement of the outcome that all schools are asked to deliver.

beyond the merely academic, into the behaviours and attitudes schools should foster

basis on which we judge all new policy ideas, schools, and the structures we set up to monitor them

Ofsted

asked to steward the delivery of these outcomes

resourcing these bodies to develop an approach based on a wider range of measures and assessments than are currently in use,