Skip to main content

Home/ Diigo In Education/ Group items tagged innovation

Rss Feed Group items tagged

Filter: All | Bookmarks | Topics Simple Middle
1More

A culture of innovation requires trust and resilience - The Learner's Way - 10 views

thelearnersway.net/...-requires-trust-and-resilience culture innovation resilience Education teaching learning
shared by Nigel Coutts on 11 Feb 18 - No Cached
  • Nigel Coutts on 11 Feb 18
     
    Two quotes by Albert Einstein point to the importance of creating a culture within our schools (and organisations) that encourages experimentation, innovation, tinkering and indeed failure. If we are serious about embracing change, exploring new approaches, maximising the possibilities of new technologies, applying lessons from new research and truly seek to prepare our students for a new work order, we must become organisations that encourage learning from failure
1More

Encouraging innovation…by @MaximJKelly - 7 views

ukedchat.com/...encouraging-innovation innovation
shared by Martin Burrett on 21 Jan 19 - No Cached
  • Martin Burrett on 21 Jan 19
     
    "If there is one thing I have come to realise in headship it is that you can't do it all by yourself. Surrounding yourself with the very best people is a start - but getting the very best from the very best requires an atmosphere and culture of trust to develop. As the new calendar year dawned and the Spring Term commenced I gathered the staff together from both of my schools to introduce my Innovation Recognition Scheme which I intended to roll out across the federation."
42More

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

muse.jhu.edu/224140 world Music
shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
1More

8 Great Tips for Education and Instructional Technology Innovation | Emerging Education... - 2 views

www.emergingedtech.com/...-technology-innovation-success technology innovation
shared by dmassicg on 19 Nov 12 - No Cached
  • A collection of ideas to position administrators and educators to encourage and embrace innovative uses of instructional and education technologies in their schools.
1More

Mark Bates - Education - Living Innovation - 2 views

www.markbates.ca education innovation
shared by Clayton Mitchell on 06 Dec 12 - No Cached
  • Clayton Mitchell on 06 Dec 12
     
    Blog by an innovative instructor in New Brunswick Canada.
1More

Project-Based Learning Leads to Innovation - Global Learning - Education Week - 73 views

blogs.edweek.org/...rning_leads_to_innovation.html learning leads innovation education
shared by psmiley on 26 Apr 13 - No Cached
  • psmiley on 26 Apr 13
     
    PBL creates innovative learners
10More

How Schools Can Teach Innovation - WSJ.com - 5 views

online.wsj.com/...lMyQjAxMTAyMDEwNTExNDUyWj.html 21stCenturyLearning project based learning innovation
shared by Elizabeth Resnick on 17 Apr 12 - No Cached
  • problems can never be understood or solved in the context of a single academic discipline
  • all courses are interdisciplinary and based on the exploration of a problem or new opportunity.
  • young innovators are intrinsically motivated. T
  • ...6 more annotations...
  • The play is discovery-based learning that leads young people to find and pursue a passion, which evolves, over time, into a deeper sense of purpose.
  • Teachers need professional development to learn how to create hands-on, project-based, interdisciplinary courses.
  • Students should have
  • digital portfolios that demonstrate progressive mastery of the skills needed to innovate.
  • play, passion and purpose.
  • To succeed in the 21st-century economy, students must learn to analyze and solve problems, collaborate, persevere, take calculated risks and learn from failure.
  • Elizabeth Resnick on 17 Apr 12
     
    To succeed in the 21st-century economy, students must learn to analyze and solve problems, collaborate, persevere, take calculated risks and learn from failure. 
1More

25 Teaching Tools To Organize, Innovate, & Manage Your Classroom - 138 views

www.teachthought.com/...innovate-manage-your-classroom
shared by Peggy Steinbronn on 27 Jan 16 - No Cached
  • Peggy Steinbronn on 27 Jan 16
     
    25 Teaching Tools To Organize, Innovate, & Manage Your Classroom
1More

New World Notes: Virtual Worlds (Slowly!) Emerging from Disillusionment Trough In Gartn... - 20 views

nwn.blogs.com/...gartner-hype-cycle-2012.html hype cycle stages of innovation innovation
shared by Stephen Bright on 22 Aug 12 - No Cached
  • Stephen Bright on 22 Aug 12
     
    Hype Cycle tracks innovations through stages - technology trigger, peak of inflated expectations, trough of disillusionment, slope of enlightenment, plateau of productivity. Can't see MOOCs any where on this graph! 
1More

Innovation Design In Education - ASIDE: A Year Without Worksheets - 151 views

theasideblog.blogspot.com/...year-without-worksheets.html education innovation design teaching blog worksheet
shared by Roland Gesthuizen on 22 Jan 12 - No Cached
  • Roland Gesthuizen on 22 Jan 12
     
    we are proposing a year without worksheets. We are going to emphasize a year of personal teaching, original materials, innovative lessons, and imaginative activities. .. in bucking carbon-copied shortcuts, to hone in on layered, dynamic, self-pioneered worksheets that excite students with pictures and appeal. We will hopefully force ourselves to avoid the bluffing that comes with 30 minutes of "silent work at one's desk.
1More

Not Just A Teacher: Stuff and Junk - 7 views

notjustateacher-pr05bps.blogspot.com/...stuff.html Choice
shared by BalancEd Tech on 24 Dec 11 - No Cached
  • BalancEd Tech on 24 Dec 11
     
    Reminds me of the point about Steve Jobs saying no to 1,000 things: The Innovation Secrets of Steve Jobs: 5. Say no to 1,000 things.  http://www.slideshare.net/cvgallo/7-innovation-secrets-of-steve-jobs http://itc.conversationsnetwork.org/audio/download/ITC.TM-CarmineGallo-2010.11.22.mp3
1More

Thrun leaving Stanford for online startup - Technology & science - Innovation - msnbc.com - 0 views

www.msnbc.msn.com/...nford-online-education-startup leaving stanford online startup technology science innovation msnbc com
shared by Tonya Thomas on 31 Jan 12 - No Cached
  • Online education can also leverage the "flipped classroom" technique used by a few innovative educators, Thrun said. Students watch lectures on their own so that teachers can spend their time and energy helping students solve problems. Many of his online students have written to share their stories with Thrun. One student told of finishing online assignments in between mortar and rocket attacks in Afghanistan. Another described herself as a single mother of two young children who suffered from both job and family worries. "I took the midterm this weekend, mostly while holding a teething infant," said the anonymous mother. "None of my other issues have gone away. But I feel more determined than ever to see this through … for myself."
1More

10 Innovative Ways to Use ThingLink in the Classroom - Edudemic - 111 views

edudemic.com/...use-thinglink-in-the-classroom techcoach spedchat eslchat ccss twitter ThingLink multimedia tools
shared by Patrick Black on 07 Jan 13 - No Cached
  • Patrick Black on 07 Jan 13
     
    10 Innovative Ways to Use ThingLink in the Classroom http://t.co/8IvYZrpL via @edudemic #techcoach #spedchat #eslchat #ccss

A Few Cautions About Organizational Change - 43 views

started by Chuck Baker on 15 Nov 10 no follow-up yet
1More

Overview | Teaching Copyright - 0 views

www.teachingcopyright.org/...hs teaching overview copyright curriculum
shared by Rob Jacklin on 31 May 09 - Cached
Kathleen N liked it
  • Rob Jacklin on 31 May 09
     
    This curriculum is designed to give teachers a comprehensive set of tools to educate students about copyright while incorporating activities that exercise a variety of learning skills. Lesson topics include: the history of copyright law; the relationship between copyright and innovation; fair use and its relationship to remix culture; peer-to-peer file sharing; and the interests of the stakeholders that ultimately affect how copyright is interpreted by copyright owners, consumers, courts, lawmakers, and technology innovators.
1More

From Distraction to Engagement: Wireless Devices in the Classroom (EDUCAUSE Quarterly) ... - 55 views

www.educause.edu/...192959 Web2.0 Education teaching social media Distraction
shared by Bruce Gorrill on 03 Jan 10 - Cached
  • Bruce Gorrill on 03 Jan 10
     
    The "professor versus laptop (or other wireless access device)" issue is a false construct if we view technology-mediated learning as a social system offering many ways to alter one component and thus change the whole system. Rather than seeing distraction as a challenge, educators can see it as an opportunity to reflect upon and change the design of their entire instructional approach. Creative and innovative educators can use technology innovations to help reform teaching, similar to the way Guttenberg's press helped bring about scientific revolution and modern authorship.
5More

Design Thinking in Schools: An Emerging Movement Building Creative Confidence in our Yo... - 46 views

gettingsmart.com/...ding-creative-confidence-youth creativity designthinking design education innovation
shared by Jennie Snyder on 08 Dec 13 - No Cached
  • design thinking is a set of tools, methods, and processes by which we develop new answers for challenges, big and small.
  • Through applying design thinking to challenges, we learn to define problems, understand needs and constraints, brainstorm innovative solutions, and seek and incorporate feedback about our ideas in order to continually make them better. The more we apply design thinking to the challenges we see, the deeper we strengthen the belief in our ability to generate creative ideas and make positive change happen in the world.
  • If you are interested in finding a program or resources to help integrate design thinking in your school, the directory offers a great set of organizations already listed for inspiration and new connections.
  • ...2 more annotations...
  • We are living in an age of increased complexity, and are facing global challenges at an unprecedented scale. The nature of connectivity, interactivity, and information is changing at lightening speed. We need to enable a generation of leaders who believe they can make a difference in the world around them, because we need this generation to build new systems and rebuild declining ones. We need them to be great collaborators, great communicators, and great innovators.
  • As we help today’s students build their foundation of core academic knowledge and skills, we also need to look at the ways we are helping our youth build their confidence in their abilities to create.
‹ Previous 21 - 40 of 488 Next › Last »
Showing 20▼ items per page