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H DeWaard

We Don't Need To Use Them, Even If They're There! | Living Avivaloca - 37 views

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    This morning, I saw a tweet from HJ DeWaard: a teacher that I love learning with and from on Twitter. The moment I read the blog post, I knew what I would be writing about tonight. The truth is, in...
Mary Beth  Messner

GPC Center for Teaching and Learning - Online Resources - 74 views

  • Online Resources   Here
  • a collection of Online Resources by Subject Area.  This list is NOT exhaustive, but is a great start for incorporating stimulating (online) exercises into your teaching
  • English
  • ...14 more annotations...
  • ACCOUNTING
  • ECONOMICS
  • BUSINESS LAW
  • English as a Second Language/Foreign Languag
  • HISTORY
  • Humanitie
  • Best Practices in Teaching Writing
  • Nursing/Dental Hygiene
  • PSYCHOLOGY
  • Biology
  • Chemistry
  • Mathematics
  • Sign Language & Interpreting Related Links
  • Computers and Technology
Liz Dodds

Our Courts - Homepage - 6 views

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    A free computer game for teenagers created with the help of former Supreme Court Justice Sandra Day O'Connor has made its online debut. "Supreme Decision," the first of several planned web-based games, went online in August as part of a project called Our Courts. In it, students can play a Supreme Court law clerk helping a justice with a tie-breaking vote over a First Amendment case. Backed by the Sandra Day O'Connor College of Law at Arizona State University and Georgetown University, the Our Courts project is designed to teach middle school students about the Constitution and the courts. O'Connor, the first woman to serve on the Supreme Court, has said more people can name an "American Idol" judge than the three branches of government. Besides teaching about civics, she hopes the Our Courts project will help students learn how to analyze problems and develop arguments. In "Supreme Decision," students play a law clerk and must help fictional Justice Irene Waters write the majority opinion on whether a school can ban students from wearing music band T-shirts. Another game, called "Do I Have a Right," will be released soon. In that game, students will play the director of a constitutional law firm who must decide which amendment resolves a problem posed by a client.
Beth Panitz

Everything I Know About Teaching Language Arts I Learned at the Office Supply Store - N... - 118 views

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    Great suggestions for classroom practices using ordinary office supplies.
Katt Blackwell-Starnes

using diigo with students - 568 views

I'm interested to see where this conversation goes next. There's some great information and pointers here. Thanks for the blog link, Andy. I'll be keeping up with what you're writing. In just ove...

diigo students bookmarking

Brianna Crowley

Teaching like it's 2999: The Gripe Jam: Getting everyone on the digital learning train - 65 views

  • This originally started off with me bringing a large, empty jar to one of their weekly staff meetings and labeling it "Gripe Jam". I put a few pads of sticky notes on tables and played a rock anthem like "We're Not Gonna Take It". They had until the end of the song to write down any and all issues they are facing in their classrooms. I took these sticky notes, went home and created a Google Doc / Spreadsheet showing how as many of these challenges as possible could be addressed by digital learning tools/strategies/sites/etc. When I returned the next week, I shared this spreadsheet. The teachers then voted for or select one strategy they'd like to learn more about. This is how we decided where we began our exploring of digital learning.
  • Acknowledging that many teachers respond better to new ideas when we first listen to their current issues makes them feel heard and respected.
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    Classroom teacher and technology educator shares a strategy for engaging teachers in effective professional development around technology integration. 
Dora Hawkins

Having fun teaching resources for learning - 135 views

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    Teach your students with songs about grammar, math,reading, writing, etc.
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    link sends me to an empty site
Beth Panitz

Misunderstood Minds | PBS - 91 views

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    Understanding learning differences and disabilities. Teaches empathy.
C CC

Education App: My Spellings iPad App Updated - 24 views

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    A great app to support teaching and learning spellings. Updated.
Sharin Tebo

JOLT - Journal of Online Learning and Teaching - 62 views

  • All of them responded that Twitter allows them to build connections with educators beyond those in their immediate vicinity. These connections are purposefully made as a way to find and share resources and to provide and receive support. For example, Participant 8 stated, “My primary purpose is to connect with other teachers, so that I can learn from them and share resources that I find.” Similarly, Participant 9 wrote, “I am the only biology teacher at my school. I use it [Twitter] as a means of obtaining advice, resources and collaboration…I also use it to find out about new tech tools.”
  • Twitter has helped me to build a strong professional reputation
  • they follow educators. They also follow content experts and others who share professional interests.
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  • Participants explained that they choose to follow people who are open, positive, and constructive.
  • “If their tweets seem to be of interest - providing ideas or resources, as opposed to just opinion - I will network with them.” Similarly, Participant 6 stated, “I look for people who interact and don't just post links.”
  • those they trust
  • Since Twitter is considered to be a social networking website, one aspect of this study looked at dialogue that transpired between followers to show evidence of collaborative conversations rather than unidirectional sharing of information.
  • Survey results show that nine out of ten of the respondents were able to give concrete examples of collaboration that occurred with fellow Twitter users.
  • These examples included ideas such as creating units, sharing of resources, students collaborating on projects between classrooms, exchanging professional materials and readings, writing book chapters, and even co-presenting at conferences.
  • beyond 140-character messages. That teachers moved discussions to forums that allow for deeper discussion and expansion of ideas is encouraging; Twitter does not seem to be a place to collaborate in depth, but rather to make those initial connections - a "jumping off" point.
  • how using Twitter has benefited them professionally. Four unique themes emerged from their responses: Access to resources Supportive relationships Increased leadership capacity Development of a professional vision
  • practical resources and ideas as a benefit.
  • opportunities for them to take leadership roles in developing professional development, organizing conferences, publishing, and grant writing.
  • This research study provides new insight into how teachers use social networking sites such as Twitter for professional purposes.
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    Impacts of Twitter on professional lives
Tony Baldasaro

Colby College | Colby Magazine | Summer 2009 - 0 views

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    Professor Cal MacKenzie writes about the potential power of computer-based learning at Colby College.
Steve Ransom

Is Video Game School Training a Generation of Professional Princess Rescuers? | Design ... - 17 views

  • Is this really necessary? And how promising is it?
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    A very well-intentioned, but ignorant piece on the role of video games in the classroom. Non-educators should stay out of the education arena and write what they know about!! "On the other hand, does it really take a videogame to make learning fun? Surely, there are better ways, which are less likely to be dated the second they're finished."
Fiona Boughey

Think You're An Auditory Or Visual Learner? Scientists Say It's Unlikely : Shots - Heal... - 119 views

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    Fascinating view on learning styles that goes against much of what is being suggested to instructors and students.  Suggests variety rather than different learning styles is what makes multi-modal teaching successful.  Curious to see if there is more out there on this viewpoint.
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    I've never really bought into the one student-one style approach, especially when I hear junk like "I'm a visual learner, so I really don't write many of my essays" or "I'm not assigning writing to him; he processes kinesthetically." To me, MI has always been a prompt to include different things across a unit.
Steve Ransom

What Can Be Done to Boost Academic Rigor? | Faculty Focus - 61 views

  • Fifty percent of sophomores reported that they had not taken a single course the prior semester that required more than 20 pages of writing over the course of the semester; One-third did not take a single course the prior semester that required, on average, more than 40 pages of reading per week.
    • Steve Ransom
       
      Is the "amount" of reading and writing directly correlated with academic rigor? And then, is such academic rigor directly correlated with learning, problem-solving, and relevance?
  • Today’s students are spending … half of what they did several decades ago
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."
Jamie Menshouse

What We Learned: A 1:1 iPad Reflection | Edutopia - 185 views

  • One of the best decisions our team made last summer was to pre-install Casper (5) profiles on all of our iPads. We pulled the student IDs from our ASPEN (6) student information system, logged each student into Casper and installed the four profiles needed for our plan. The profiles took Safari web browser off the iPad.
  • As we progressed through the year, we discovered that these tools took a lot of time to create something we were trying to move away from in the first place. The reason for moving away from textbooks is that they offer a myopic vision of a world that is ever-changing. Simply viewing a textbook on an iPad does not change or innovate learning, nor does it use the iPad to its full potential. If your plan is to digitize a standard textbook, save your money and renew your textbook licenses.
  • This year we are incorporating K-12 digital portfolios along with revised information and digital literacy standards. Every BPS student will have a Google Apps for Education account that they will use in conjunction with the Blogger (15) application to begin creating their Life of Learning portfolio
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    • Jeppe Egendal
       
      Digital portfolio og blogger
    • Jeppe Egendal
       
      Begrundelser for anvendelsen af iPads i undervisningen bevæger sig fra en forestilling om at erstatte tekstbøger til en forestilling om at kunne lærerne kan samarbejde med eleverne i skyen ved hjælp af værktøjer, der automatisk synkroniserer med eleverns iPads
  • The students that make it into help desk are those who not only enjoy working with technology in an educational context, but have a desire to serve, support and possibly solve problems in the school on a daily basis.
  • . Aside from simply troubleshooting, our students help their former teachers at the middle and elementary levels as well as create how-to scripts and videos for students, faculty and the Burlington community. Our students have not only helped within the BPS community, but have helped our Tech Team organize two major conferences in the past year:
    • Jeppe Egendal
       
      Eleverne hjælper som ressorucepersoner i skolen
  • You can have the most precisely calculated plan in place before you launch, but if you don't have the right support in place, your launch may stumble. I regard our IT department as one of the best I have ever worked with. I say this in all sincerity because I do "work with" this team. These guys not only manage a robust infrastructure, but they take part in the educational conversation and give our staff the best tools to create dynamic, engaging classrooms.
    • Jeppe Egendal
       
      Teknisk support er en del af løsningen og de skal deltage i den løbende pædagogisk/didaksike debet
  • However, we must work to incorporate information and digital literacy standards into the K-12 curriculum as early as possible. Students in Kindergarten should understand what it means to be nice to someone and how that will translate to writing and living on the Web. As students grow up through the educational pathways, they must be exposed to new and emerging technologies as early as possible in a safe, responsible manner. By doing so, we are preparing them for a global economy that requires these skills.
    • Jamie Menshouse
       
      Our middle school is adding character education to the arts and humanities curriculum. Teaching students at a young age to be thoughtful and responsible with technology will make it a much better experience inside the classroom.
anonymous

Harvard Education Letter - 126 views

  • When students know how to ask their own questions, they take greater ownership of their learning, deepen comprehension, and make new connections and discoveries on their own.
  • Typically, questions are seen as the province of teachers, who spend years figuring out how to craft questions and fine-tune them to stimulate students’ curiosity or engage them more effectively.
  • to introduce students to a new unit, to assess students’ knowledge to see what they need to understand better, and even to conclude a unit to see how students can, with new knowledge, set a fresh learning agenda for themselves. The technique can be used for all ages.
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  • ask as many questions as you can; do not stop to discuss, judge, or answer any of the questions; write down every question exactly as it was stated; and change any statements into questions.
  • for an open-ended thinking process.
  • The teacher begins this step by introducing definitions of closed- and open-ended questions.
  • “Choose the three questions you most want to explore further.”
  • Students will be asking all the questions. A teacher’s role is simply to facilitate that process. This is a significant change for students as well.
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    Mike and I have been using this in our classrooms for a few years and it has really made a difference...it helps to inspire learning.  
sha towers

Doctoral degrees: The disposable academic | The Economist - 27 views

  • There is an oversupply of PhDs. Although a doctorate is designed as training for a job in academia, the number of PhD positions is unrelated to the number of job openings. Meanwhile, business leaders complain about shortages of high-level skills, suggesting PhDs are not teaching the right things. The fiercest critics compare research doctorates to Ponzi or pyramid schemes.
  • A graduate assistant at Yale might earn $20,000 a year for nine months of teaching. The average pay of full professors in America was $109,000 in 2009
  • America produced more than 100,000 doctoral degrees between 2005 and 2009. In the same period there were just 16,000 new professorships.
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  • PhD students and contract staff known as “postdocs”, described by one student as “the ugly underbelly of academia”, do much of the research these days.
  • In some areas five years as a postdoc is now a prerequisite for landing a secure full-time job.
  • About one-third of Austria’s PhD graduates take jobs unrelated to their degrees. In Germany 13% of all PhD graduates end up in lowly occupations. In the Netherlands the proportion is 21%.
  • In America only 57% of doctoral students will have a PhD ten years after their first date of enrolment. In the humanities, where most students pay for their own PhDs, the figure is 49%.
  • in 1966 only 23% of science and engineering PhDs in America were awarded to students born outside the country. By 2006 that proportion had increased to 48%. Foreign students tend to tolerate poorer working conditions, and the supply of cheap, brilliant, foreign labour also keeps wages down.
  • The earnings premium for a PhD is 26%. But the premium for a master’s degree, which can be accomplished in as little as one year, is almost as high, at 23%
  • PhDs in maths and computing, social sciences and languages earn no more than those with master’s degrees
  • the skills learned in the course of a PhD can be readily acquired through much shorter courses.
  • In one study of British PhD graduates, about a third admitted that they were doing their doctorate partly to go on being a student, or put off job hunting.
  • The more bright students stay at universities, the better it is for academics. Postgraduate students bring in grants and beef up their supervisors’ publication records.
  • Writing lab reports, giving academic presentations and conducting six-month literature reviews can be surprisingly unhelpful in a world where technical knowledge has to be assimilated quickly and presented simply to a wide audience.
  • Many of those who embark on a PhD are the smartest in their class and will have been the best at everything they have done. They will have amassed awards and prizes. As this year’s new crop of graduate students bounce into their research, few will be willing to accept that the system they are entering could be designed for the benefit of others, that even hard work and brilliance may well not be enough to succeed, and that they would be better off doing something else.
  •  
    article from the Economist "The Disposable Academic: Why doing a PhD is often a waste of time
taconi12

fractions idea bank - 141 views

  • Fractions are as easy as pigs
  • One way to help students to understand the basics of adding and subtracting fractions (denominators must be the same; add/subtract the numerators; DO NOT add/subtract the denominators) is to teach the students what the parts of a fraction really are: numbers and names. This also helps combat the frequently-taught but incorrect idea that a fraction and a ratio are the same. A ratio may look like a fraction, but it is not a fraction.
  • FRACTIONS ARE AS EASY AS PIGS What is 2 pigs plus 3 pigs? 5 pigs (Write as a fraction: 2/pigs + 3/pigs = 5/pigs) Notice, we do not end up saying the answer is 5 horses.
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  • The top of a fraction is a NUMBER: 1, 2, 3, etc. The bottom of a fraction is a NAME: half, third, fourth, etc. We can add and subtract numbers. We cannot add and subtract names.
  • Fraction Blackjack
  • Ask each student their "denominator." Don't give it away. Ask each one until one finally says their name. Continue through the room... Their name is their denominator. When you practice adding and subtracting fractions with like denominators, actually say "pigs" instead the fraction name. Then say, "Instead of pigs, we are using ..." and let them answer with the appropriate denominator. It is fun when doing subtraction to say, "If we have 5 pigs and eat 3 pigs, besides a stomachache, what is left?"
  • The transition to unlike denominators is automatic. If the names are not the same, you can't add the fractions. 2/pigs + 3 horses is still 2/pigs and 3/horses (unless we discover a "common denominator" -- a common name: farm animals). Once the students know they must have a common name (denominator) in order to add or subtract, they have a reason to learn about common denominators. By the way, I always begin common denominators without worrying about the Least Common Denominator (LCD). Once they can find a common denominator (multiply the denominators), add or subtract, and then reduce, they can be led to finding "easier" denominators to work with. Students who have too much difficulty with LCD can still get the correct answer; they just have more reducing to do. Those who can find a lower common denominator have less reducing. This is a very basic rendering of "Fractions are as easy as pigs." AWP, 10/12/00 on teachers.net math board
  • Denominate means: to name Political parties nominate (name) their candidates. Religious denominations are identified by their names. The denominations of money are the names of the coins and bills.
  • One game that my students enjoy the challenge of is Blackjack 1. You need a set of fraction cards per student (or you can make them from index cards.) The same rules as Blackjack apply. Instead of trying to get to 21, they want to try and get close to 1 without going over. With this game they practice addition and comparing -- it's great. You can also make it more challenging or bring in mixed numbers with Blackjack 2 or Blackjack 3. (Blackjack 2 means to try to get as close to 2 as possible without going over.) I am not sure where to buy fraction cards. I have one set that I received when I took over a classroom. However, I have always had the students create their own sets and we used them for several games. I gave each students a set of index cards (3 1/2 X 5) and they wrote the fractions in pencil so they couldn't be seen through the cards. These are the fractions we included: all fractions with a denominator of 2, 3, 4, 5, 6, 8, 10, and 12. (To challenge the students you may want to use the 7, 9, and 11 denominators as well.) I also had the students include 2 0's such as 0/3 and 0/4 and two 1's such as 3/3 and 4/4. Each game required two sets of cards, so I had the students write their initials in the corner of their set so they would get a complete set back after the game.
  • games
  • I remembered some
  • other
  • Fraction War Fraction War with the fraction cards: It is just like the card game of War, but with the fraction cards instead. This game helps students to compare fractions and encourages them to use number sense in comparison before using the algorithm of making equivalent fractions. Memory Memory with the fraction cards: It is just like the traditional "Memory" game, but any equivalent fractions are considered a match so 1/2 would be a match with 2/4. This game helps them to identify equivalent fractions. You can also play this game with fraction to decimal equivalence by making a set of decimal cards too. Fraction/Decimal Bingo Fraction/Decimal Bingo: The students have game boards with decimals on them. You call out fractions and if they have the decimal equivalence they can mark it on the board. Kimberly, 5/31 and 6/1 on teachers.net math board
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