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Lisa C. Hurst

Inside the School Silicon Valley Thinks Will Save Education | WIRED - 9 views

www.wired.com/altschool

shared by Lisa C. Hurst on 05 May 15 - No Cached
  • Lisa C. Hurst on 05 May 15
     
    "AUTHOR: ISSIE LAPOWSKY. ISSIE LAPOWSKY DATE OF PUBLICATION: 05.04.15. 05.04.15 TIME OF PUBLICATION: 7:00 AM. 7:00 AM INSIDE THE SCHOOL SILICON VALLEY THINKS WILL SAVE EDUCATION Click to Open Overlay Gallery Students in the youngest class at the Fort Mason AltSchool help their teacher, Jennifer Aguilar, compile a list of what they know and what they want to know about butterflies. CHRISTIE HEMM KLOK/WIRED SO YOU'RE A parent, thinking about sending your 7-year-old to this rogue startup of a school you heard about from your friend's neighbor's sister. It's prospective parent information day, and you make the trek to San Francisco's South of Market neighborhood. You walk up to the second floor of the school, file into a glass-walled conference room overlooking a classroom, and take a seat alongside dozens of other parents who, like you, feel that public schools-with their endless bubble-filled tests, 38-kid classrooms, and antiquated approach to learning-just aren't cutting it. At the same time, you're thinking: this school is kind of weird. On one side of the glass is a cheery little scene, with two teachers leading two different middle school lessons on opposite ends of the room. But on the other side is something altogether unusual: an airy and open office with vaulted ceilings, sunlight streaming onto low-slung couches, and rows of hoodie-wearing employees typing away on their computers while munching on free snacks from the kitchen. And while you can't quite be sure, you think that might be a robot on wheels roaming about. Then there's the guy who's standing at the front of the conference room, the school's founder. Dressed in the San Francisco standard issue t-shirt and jeans, he's unlike any school administrator you've ever met. But the more he talks about how this school uses technology to enhance and individualize education, the more you start to like what he has to say. And so, if you are truly fed up with the school stat
Kari Beery

Tech Savvy Kids - 86 views

www.usatoday.com/...0-02-10-igeneration10_CV_N.htm

shared by Kari Beery on 03 Mar 11 - No Cached
  • To the psychologists, sociologists, and generational and media experts who study them, their digital gear sets this new group (yet unnamed by any powers that be) apart, even from their tech-savvy Millennial elders. They want to be constantly connected and available in a way even their older siblings don't quite get. These differences may appear slight, but they signal an all-encompassing sensibility that some say marks the dawning of a new generation.
  •  PARENTING & KIDS' HEALTH NEWS: ONLY ON USA TODAYNew daditude: Today's fathers are hands-on, pressure offTV: Impairs speech | Leads to earlier sexBaby names: What's popular? Whatever's unusualMore parents share workload when mom learns to let goAre kids becoming too narcissistic? | Take the quizChemicals: What you need to know about BPA | Carcinogens found in kids' bath products | Lead poisonings persist'Momnesia,' spanking, tweens and toddlers fullCoverage='Close  X Todders: Parents' fear factor? A short toddle into the danger zoneTweens: Cooler than ever, but is childhood lost?
  • The difference is that these younger kids "don't remember a time without the constant connectivity to the world that these technologies bring," she says. "They're growing up with expectations of always being present in a social way — always being available to peers wherever you are."
Laura Doto

Final Report: Friendship | DIGITAL YOUTH RESEARCH - 1 views

digitalyouth.ischool.berkeley.edu/book-friendship

Aristotle Friendship teens adolescents online network

shared by Laura Doto on 23 Jun 09 - Cached
  • Social relations—not simply physical space—structure the social worlds of youth.
    • Laura Doto
      Laura Doto on 23 Jun 09
       
      A critical conclusion to be realized that can inform our assumptions as educators.
  • When teens are involved in friendship-driven practices, online and offline are not separate worlds—they are simply different settings in which to gather with friends and peers
  • these dynamics reinforce existing friendship patterns as well as constitute new kinds of social arrangements.
  • ...43 more annotations...
  • Homophily describes the likelihood that people connect to others who share their interests and identity.
  • One survey of Israeli teens suggests that those who develop friendships online tend toward less homogenous connections than teens who do not build such connections
  • Teens frequently use social media as additional channels of communication to get to know classmates and turn acquaintances into friendships.
  • Some teens—especially marginalized and ostracized ones—often relish the opportunity to find connections beyond their schools. Teens who are driven by specific interests that may not be supported by their schools, such as those described in the Creative Production and Gaming chapters, often build relationships with others online through shared practice.
  • there are plenty of teens who relish the opportunity to make new connections through social media, this practice is heavily stigmatized
  • the public myths about online “predators” do not reflect the actual realities of sexual solicitation and risky online behavior (Wolak et al. 2008). Not only do unfounded fears limit teenagers unnecessarily, they also obscure preventable problematic behavior
  • As she described her typical session on Photobucket, it became clear that a shared understanding of friendship and romance was being constructed by her and other Photobucket users:
  • The fact that they draw from all of these sources suggests that youth’s friendship maintenance is in tune with a discourse of love and friendship that is being widely displayed and (re)circulated.
  • “It’s like have you noticed that you may have someone in your Top 8 but you’re not in theirs and you kinda think to yourself that you’re not as important to that person as they are to you . . . and oh, to be in the coveted number-one spot!”
  • Taking someone off your Top 8 is your new passive-aggressive power play when someone pisses you off.
  • Top Friends are persistent, publicly displayed, and easily alterable. This makes it difficult for teens to avoid the issue or make excuses such as “I forgot.” When pressured to include someone, teens often oblige or attempt to ward off this interaction by listing those who list them
  • Other teens avoid this struggle by listing only bands or family members. While teens may get jealous if other peers are listed, family members are exempt from the comparative urge.
  • to avoid social drama with her friends:
  • The Top Friends feature is a good example of how structural aspects of software can force articulations that do not map well to how offline social behavior works.
  • teens have developed a variety of social norms to govern what is and is not appropriate
  • The problem with explicit ranking, however, is that it creates or accentuates hierarchies where they did not exist offline, or were deliberately and strategically ambiguous, thus forcing a new set of social-status negotiations. The give-and-take over these forms of social ranking is an example of how social norms are being negotiated in tandem with the adoption of new technologies, and how peers give ongoing feedback to one another as part of these struggles to develop new cultural standards.
  • While teen dramas are only one component of friendship, they are often made extremely visible by social media. The persistent and networked qualities of social media alter the ways that these dramas play out in teen life. For this reason, it is important to pay special attention to the role that social media play in the negotiation of teen status.
  • primarily a continuation of broader dramas.
  • social media amplify dramas because they extend social worlds beyond the school.
  • Gossip and rumors have played a role in teen struggles for status and attention since well before social media entered the scene
  • social media certainly alter the efficiency and potential scale of interactions. Because of this, there is greater potential for gossip to spread much further and at a faster pace, making social media a culprit in teen drama. While teen gossip predates the Internet, some teens blame the technologies for their roles in making gossip easier and more viral
  • That’s what happened with me and my friends. We got into a lot of drama with it and I was like, anyone can write anything. It can be fact, fiction. Most people, what they read they believe. Even if it’s not true (C.J. Pascoe, Living Digital).
  • finds the News Feed useful “because it helps you to see who’s keeping track of who and who’s talking to who.” She enjoys knowing when two people break up so that she knows why someone is upset or when she should reach out to offer support. Knowing this information also prevents awkward conversations that might reference the new ex. While she loves the ability to keep up with the lives of her peers, she also realizes that this means that “everybody knows your business.”
  • Some teens find the News Feed annoying or irrelevant. Gadil, an Indian 16-year-old from Los Angeles, thinks that it is impersonal while others think it is downright creepy. For Tara, a Vietnamese 16-year-old from Michigan, the News Feed takes what was public and makes it more public: “Facebook’s already public. I think it makes it way too like stalker-ish.” Her 18-year-old sister, Lila, concurs and points out that it gets “rumors going faster.” Kat, a white 14-year-old from Salem, Massachusetts, uses Facebook’s privacy settings to hide stories from the News Feed for the sake of appearances.
  • While gossip is fairly universal among teens, the rumors that are spread can be quite hurtful. Some of this escalates to the level of bullying. We are unable to assess whether or not bullying is on the rise because of social media. Other scholars have found that most teens do not experience Internet-driven harassment (Wolak, Mitchell, and Finkelhor 2007). Those who do may not fit the traditional profile of those who experience school-based bullying (Ybarra, Diener-West, and Leaf 2007), but harassment, both mediated and unmediated, is linked to a myriad of psychosocial issues that includes substance use and school problems (Hinduja and Patchin 2008; Ybarra et al. 2007).
  • Measuring “cyberbullying” or Internet harassment is difficult, in part because both scholars and teens struggle to define it. The teens we interviewed spoke regularly of “drama” or “gossip” or “rumors,” but few used the language of “bullying” or “harassment” unless we introduced these terms. When Sasha, a white 16-year-old from Michigan, was asked specifically about whether or not rumors were bullying, she said: I don’t know, people at school, they don’t realize when they are bullying a lot of the time nowadays because it’s not so much physical anymore. It’s more like you think you’re joking around with someone in school but it’s really hurting them. Like you think it’s a funny inside joke between you two, but it’s really hurtful to them, and you can’t realize it anymore. Sasha, like many of the teens we interviewed, saw rumors as hurtful, but she was not sure if they were bullying. Some teens saw bullying as being about physical harm; others saw it as premeditated, intentionally malicious, and sustained in nature. While all acknowledged that it could take place online, the teens we interviewed thought that most bullying took place offline, even if they talked about how drama was happening online.
  • it did not matter whether it was online or offline; the result was still the same. In handling this, she did not get offline, but she did switch schools and friend groups.
  • Technology provides more channels through which youth can potentially bully one another. That said, most teens we interviewed who discussed being bullied did not focus on the use of technology and did not believe that technology is a significant factor in bullying.
  • They did, though, see rumors, drama, and gossip as pervasive. The distinction may be more connected with language and conception than with practice. Bianca, a white 16-year-old from Michigan, sees drama as being fueled by her peers’ desire to get attention and have something to talk about. She thinks the reason that people create drama is boredom. While drama can be hurtful, many teens see it simply as a part of everyday social life.
  • Although some drama may start out of boredom or entertainment, it is situated in a context where negotiating social relations and school hierarchies is part of everyday life. Teens are dealing daily with sociability and related tensions.
  • Tara thinks that it emerges because some teens do not know how to best negotiate their feelings and the feelings of others.
  • Teens can use the ability to publicly validate one another on social network sites to reaffirm a friendship.
  • So, while drama is common, teens actually spend much more time and effort trying to preserve harmony, reassure friends, and reaffirm relationships. This spirit of reciprocity is common across a wide range of peer-based learning environments we have observed.
  • From this perspective, commenting is not as much about being nice as it is about relying on reciprocity for self-gain
  • That makes them feel like they’re popular, that they’re getting comments all the time by different people, even people that they don’t know. So it makes them feel popular in a way (Rural and Urban Youth).
  • Gossip, drama, bullying, and posing are unavoidable side effects of teens’ everyday negotiations over friendship and peer status. What takes place in this realm resembles much of what took place even before the Internet, but certain features of social media alter the dynamics around these processes. The public, persistent, searchable, and spreadable nature of mediated information affects the way rumors flow and how dramas play out. The explicitness surrounding the display of relationships and online communication can heighten the social stakes and intensity of status negotiation. The scale of this varies, but those who experience mediated harassment are certainly scarred by the process. Further, the ethic of reciprocity embedded in networked publics supports the development of friendships and shared norms, but it also plays into pressures toward conformity and participation in local, school-based peer networks. While there is a dark side to what takes place, teens still relish the friendship opportunities that social media provide.
  • While social warfare and drama do exist, the value of social media rests in their ability to strengthen connections. Teens leverage social media for a variety of practices that are familiar elements of teen life: gossiping, flirting, joking around, and hanging out. Although the underlying practices are quite familiar, the networked, public nature of online communication does inflect these practices in new ways.
  • Adults’ efforts to regulate youth access to MySpace are the latest example of how adults are working to hold on to authority over teen socialization in the face of a gradual erosion of parental influence during the teen years.
  • learning how to manage the unique affordances of networked sociality can help teens navigate future collegiate and professional spheres where mediated interactions are assumed.
  • articulating those friendships online means that they become subject to public scrutiny in new ways;
  • This makes lessons about social life (both the failures and successes) more consequential and persistent
  • make these dynamics visible in a more persistent and accessible public arena.
  • co-constructing new sets of social norms together with their peers and the efforts of technology developers. The dynamics of social reciprocity and negotiations over popularity and status are all being supported by participation in publics of the networked variety as formative influences in teen life. While we see no indication that social media are changing the fundamental nature of these friendship practices, we do see differences in the intensity of engagement among peers, and conversely, in the relative alienation of parents and teachers from these social worlds.
  • Laura Doto on 23 Jun 09
     
    MacArthur Foundation Study - Friendship chapter
ZeroDivide .

Nova Fabric of the cosmos The illusion of time full video - YouTube - 48 views

www.youtube.com/watch

Time

shared by ZeroDivide . on 03 Aug 14 - No Cached
  • The Evolution of Time and the Carnot Cycle at the Edge of the Universe
  • ZeroDivide . on 03 Aug 14
     
    We are all time travelers... drifting through time at a steady pace, one moment at a time. In what direction are we moving through time? Or does time move through us? How many dimensions of time are there? Though slightly allegorical, three-dimensional time offers physics new parameters, accounting for conventional and exotic physical phenomena, while maintaining the conservation of energy and symmetry groups found in physical law.  I began playing with the idea that all of physics could be reduced to just interactions between spatial and temporal coordinates. I wondered if inertia and momentum might be composed strictly of temporal components. This would require extra time dimensions. Could inertia or momentum be used as indicators of multi-dimensional time? What about charge, spin, and other properties of matter? Answers to some of these questions appeared to reside in neutrino research, specifically neutrino flavor oscillation.  The universality between Thermodynamics and Temporal Mechanics can reduce the fundamental forces of nature into a single expression, a new equivalence principle, which can be used as the generator for the evolution of time. Once Quantum Mechanics is seen through the lens of three-dimensional time, the EPR paradox looses its mystique. The speed of light may be restricted to a set speed limit within each individual frame of reference, however, frames of reference can undergo periods-of-time at varying rates of the passage-of-time. If the positive side of absolute zero is a state of condensed matter, what is on the negative side of absolute zero? Uncondensed matter?  The anti-matter aspect of the Dirac equations may have been misinterpreted. The convention is to assume that "matter" is composed of "particles" distinctly different from "antimatter" composed of "antiparticles". The assumption of one time dimension locks in this interpretation of the Dirac Equations. However, the uniform production of particles and antipa
Adrienne Michetti

Where Everybody Knows Your (Screen) Name: Online Games as "Third Places" - 52 views

jcmc.indiana.edu/...steinkuehler.html

games gaming social

shared by Adrienne Michetti on 19 Nov 09 - Cached
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      This is, I think, why I'm more keen on today's social networks than I am on games -- games do not provide deep emotional support.
  • "bowling alone" hypothesis (Putnam, 2000), which suggests that media are displacing crucial civic and social institutions
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      Putnam - need to check this article. Interesting; not sure I agree.
  • ...80 more annotations...
  • According to Putnam, time spent with relatively passive and disengaging media has come at the expense of time spent on vital community-building activities.
  • The evidence to date is mixed
  • A core problem on both sides of the debate is an underlying assumption that all Internet use is more or less equivalent
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      SO True
  • It would be more plausible and empirically rigorous, then, to consider how specific forms of Internet activity impact civic and social engagement as a result of their particular underlying social architectures
  • combining conclusions from two different lines of MMO research conducted from two different perspectives—one from a media effects approach, the other from a sociocultural perspective on cognition and learning.
  • By providing spaces for social interaction and relationships beyond the workplace and home, MMOs have the capacity to function as one form of a new "third place" for informal sociability much like the pubs, coffee shops, and other hangouts of old.
  • loosely structured by open-ended narratives
  • They are known for their peculiar combination of designed "escapist fantasy" and emergent "social realism"
  • from two research projects: one an examination of the media effects of MMOs, the other an ethnographic study of cognition and culture in such contexts.
  • the conclusions of both studies were remarkably aligned.
  • the assumption that the most fruitful advances are sometimes made when congruent findings are discovered through disparate means
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      Love this quote.
  • demonstrate the "effects" of game play vs. no game play.
  • first project was a traditional effects study
  • second project, a qualitative study of cognition and learning in MMOs (
  • ethnography
  • sociocultural perspective
  • as a way to tease out what happens in the virtual setting of the game and how the people involved consider their own activities, the activities of others, and the contexts in which those activities takes place
  • a reasonable level of generalizability (random assignment to condition in the first study) and contextualization (ethnographic description of existing in-game social networks and practices in the second)
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      but I wonder why he chose these games -- this is not specified. Only their success in US and abroad?
  • brick-and-mortar "third places" in America where individuals can gather to socialize informally beyond the workplace and home
  • the exaggerated self-consciousness of individuals.
  • In what ways might MMOs function as new third places for informal sociability?
  • virtual environments have the potential to function as new (albeit digitally mediated) third places similar to pubs, coffee shops, and other hangouts.
  • in this section we analyze the structural form of MMOs that warrants this "third place" assertion.
  • eight defining characteristics of third places
  • there is no default obligation
  • To oblige any one person to play requires that explicit agreements be entered into by parties
  • the default assumption is that no one person is compelled to participate legally, financially, or otherwise.
  • Unless one transforms the virtual world of the game into a workplace (e.g., by taking on gainful employment as a virtual currency "farmer" for example, Dibbell, 2006; Steinkuehler, 2006a) or enters into such agreement, no one person is obligated to log in
    • Adrienne Michetti
      Adrienne Michetti on 19 Nov 09
       
      and this is why, in my opinion, you will never see games in school. The game cannot be the Third Place because school is a Second Place.
  • Yee's (2006) interviews also reveal that individuals who game with romantic partners or family find that such joint engagement in the "other world" of MMOs allows them to redefine the nature and boundaries of their offline relationships, often in more equitable terms than what may be possible in day-to-day offline life
  • the relationships that play-partners have with one another offline are often "leveled" within the online world
  • an individual's rank and status in the home, workplace, or society are of no importance
  • appeal to people in part because they represent meritocracies otherwise unavailable in a world often filled with unfairness
  • conversation plays an analogous role
  • "In all such systems, linguistic interactions have been primary: users exchange messages that cement the social bonds between them, messages that reflect shared history and understandings (or misunderstandings) about the always evolving local norms for these interactions" (p. 22).
  • third places must also be easy to access
  • such that "one may go alone at almost any time of the day or evening with assurance that acquaintances will be there"
  • accessible directly from one's home, making them even more accommodating to individual schedules and preferences
  • barriers to initial access.
  • "What attracts a regular visitor to a third place is supplied not by management but by the fellow customer,"
  • "It is the regulars who give the place its character and who assure that on any given visit some of the gang will be there"
  • affective sense
  • As one informant satirically commented in an interview, "You go for the experience [points], you stay for the enlightening conversation.
  • engendering a sense of reliable mentorship and community stability.
  • Oldenburg argues that third places are characteristically homely, their d�cor defying tidiness and pretension whenever possible. MMOs do not fit this criterion in any literal sense
  • In neither of our investigations did the degree of formality exhibited by players within the game bear any relation to the degree of visual ornamentation of the players' immediate vicinity.
  • Thus, while the visual form of MMO environments does not fit Oldenburg's (1999) criterion of "low profile," the social function of those environments does.
  • Oldenburg (1999) argues that seriousness is anathema to a vibrant third place; instead, frivolity, verbal word play, and wit are essential.
  • The playful nature of MMOs is perhaps most apparent in what happens when individuals do bring gravity to the game.
  • the home-like quality of third places in rooting people
  • Participation becomes a regular part of daily life for players and, among regular gamemates such as guild members, exceptional absences (i.e., prolonged or unforeseen ones) are queried within the game or outside i
  • create an atmosphere of mutual caring that, while avoiding entangling obligations per se, creates a sense of rootedness to the extent that regularities exist, irregularities are duly noted, and, when concerning the welfare of any one regular, checked into
  • Are virtual communities really communities, or is physical proximity necessary?
  • Anderson (1991), who suggests that geographic proximity itself is neither a necessary nor sufficient condition for the emergence and preservation of "community."
  • Social capital (Coleman, 1988) works analogously to financial capital; it can be acquired and spent, but for social and personal gains rather than financial
  • operates cyclically within social networks because of their associated norms of reciprocity
  • bridging social capital is inclusive.
  • This form of social capital is marked by tentative relationships, yet what they lack in depth, they make up for in breadth.
  • On the one hand, bridging social capital provides little in the way of emotional support; on the other hand, such relationships can broaden social horizons or worldviews, providing access to information and new resources.
  • bonding social capital is exclusive.
  • social superglue.
  • it can also result in insularity.
  • shows that bridging and bonding social capital are tied to different social contexts, given the network of relationships they enable.
  • Virtual worlds appear to function best as bridging mechanisms rather than as bonding ones, although they do not entirely preclude social ties of the latter type.
  • One could argue that, if the benchmark for bonding social capital is the ability to acquire emotional, practical, or substantive support, then MMOs are not well set up for the task:
  • While deep affective relationships among players are possible, they are less likely to generate the same range of bonding benefits as real-world relationships because of players' geographic dispersion and the nature of third places themselves.
  • Despite differences in theoretical grounding and methodologies, our conclusions were remarkably similar across complementary macro- and micro-levels.
  • It is worth noting, however, that as gamers become more involved in long-term social networks such as guilds and their activities become more "hardcore" (e.g., marked by participation in large-scale collaborative problem-solving endeavors such as "raids" into difficult territories or castle sieges), the function of MMOs as "third places" begins to wane.
  • It may be, then, that the structure and function of MMOs as third places is one part of the "life cycle" for some gamers in a given title.
  • In such cases, MMOs appear to enable a different kind of sociability, one ostensibly recognizable as a "community" nonetheless.
  • However, our research findings indicate that this conclusion is uninformed. To argue that MMO game play is isolated and passive media consumption in place of informal social engagement is to ignore the nature of what participants actually do behind the computer screen
  • Perhaps it is not that contemporary media use has led to a decline in civic and social engagement, but rather that a decline in civic and social engagement has led to retribalization through contemporary media (McLuhan, 1964).
  • Such a view, however, ignores important nuances of what "community" means by pronouncing a given social group/place as either wholly "good" or "bad" without first specifying which functions the online community ought to fulfill.
  • Moreover, despite the semantics of the term, "weak" ties have been shown to be vital in communities, relationships, and opportunities.
  • is to what extent such environments shift the existing balance between bridging and bonding
  • In light of Putnam's evidence of the decline of crucial civic and social institutions, it may well be that the classification "lacking bridging social capital" best characterizes the everyday American citizen. T
  • Without bridging relationships, individuals remain sheltered from alternative viewpoints and cultures and largely ignorant of opportunities and information beyond their own closely bound social network.
  • it seems ironic that, now of all times, we would ignore one possible solution to our increasingly vexed relationship with diversity.
Ian Woods

AJET 26(3) Drexler (2010) - The networked student model for construction of personal le... - 77 views

www.ascilite.org.au/...drexler.html

shared by Ian Woods on 26 Sep 10 - Cached
  • Web application(networked studentcomponent) Tool usedin test case Student activitylevel of structure Social bookmarking (RSS) Delicioushttp://delicious.com/ Set up the account Subscribe to each others accounts Bookmark and read 10 reliable websites that reflect the content of chosen topic Add and read at least 3 additional sites each week. News and blog alert (RSS) Google Alerthttp://www.google.com/alerts Create a Google Alert of keywords associated with selected topic Read news and blogs on that topic that are delivered via email daily Subscribe to appropriate blogs in reader News and blog reader (RSS) Google Readerhttp://reader.google.com Search for blogs devoted to chosen topic Subscribe to blogs to keep track of updates Personal blog (RSS) Bloggerhttp://www.blogger.com Create a personal blog Post a personal reflection each day of the content found and experiences related to the use of personal learning environment Students subscribe to each others blogs in reader Internet search (information management, contacts, and synchronous communication) Google Scholarhttp://scholar.google.com/ Conduct searches in Google Scholar and library databases for scholarly works. Bookmark appropriate sites Consider making contact with expert for video conference Podcasts (RSS) iTunesUhttp://www.apple.com/itunes/whatson/itunesu.html Search iTunesU for podcasts related to topic Subscribe to at least 2 podcasts if possible Video conferencing (contacts and synchronous communication) Skypehttp://www.skype.com Identify at least one subject matter expert to invite to Skype with the class. Content gathering/ digital notebook Evernotehttp://evernote.com/ Set up account Use Evernote to take notes on all content collected via other tools Content synthesis Wikispaceshttp://www.wikispaces.com Post final project on personal page of class wiki The process and tools are overwhelming to students if presented all at once. As with any instructional design, the teacher determines the pace at which the students best assimilate each new learning tool. For this particular project, a new tool was introduced each day over two weeks. Once the construction process was complete, there were a number of personal web page aggregators that could have been selected to bring everything together in one place. Options at the time included iGoogle, PageFlakes, NetVibes, and Symbaloo. These sites offer a means to compile or pull together content from a variety of web applications. A web widget or gadget is a bit of code that is executed within the personal web page to pull up external content from other sites. The students in this case designed the personal web page using the gadgets needed in the format that best met their learning goals. Figure 3 is an instructor example of a personal webpage that includes the reader, email, personal blog, note taking program, and social bookmarks on one page. The personal learning environment can take the place of a traditional textbook, though does not preclude the student from using a textbook or accessing one or more numerous open source texts that may be available for the research topic. The goal is to access content from many sources to effectively meet the learning objectives. The next challenge is to determine whether those objectives have been met. Figure 3: Personal web page compiles learning tools
  • Table 2: Personal learning environment toolset Web application (networked student component) Tool used in test case Student activity level of structure Social bookmarking (RSS) Delicious http://delicious.com/ Set up the account Subscribe to each others accounts Bookmark and read 10 reliable websites that reflect the content of chosen topic Add and read at least 3 additional sites each week. News and blog alert (RSS) Google Alert http://www.google.com/alerts Create a Google Alert of keywords associated with selected topic Read news and blogs on that topic that are delivered via email daily Subscribe to appropriate blogs in reader News and blog reader (RSS) Google Reader http://reader.google.com Search for blogs devoted to chosen topic Subscribe to blogs to keep track of updates Personal blog (RSS) Blogger http://www.blogger.com Create a personal blog Post a personal reflection each day of the content found and experiences related to the use of personal learning environment Students subscribe to each others blogs in reader Internet search (information management, contacts, and synchronous communication) Google Scholar http://scholar.google.com/ Conduct searches in Google Scholar and library databases for scholarly works. Bookmark appropriate sites Consider making contact with expert for video conference Podcasts (RSS) iTunesU http://www.apple.com/itunes/ whatson/itunesu.html Search iTunesU for podcasts related to topic Subscribe to at least 2 podcasts if possible Video conferencing (contacts and synchronous communication) Skype http://www.skype.com Identify at least one subject matter expert to invite to Skype with the class. Content gathering/ digital notebook Evernote http://evernote.com/ Set up account Use Evernote to take notes on all content collected via other tools Content synthesis Wikispaces http://www.wikispaces.com Post final project on personal page of class wiki The process and tools are overwhelming to students if presented all at once. As with any instructional design, the teacher determines the pace at which the students best assimilate each new learning tool. For this particular project, a new tool was introduced each day over two weeks. Once the construction process was complete, there were a number of personal web page aggregators that could have been selected to bring everything together in one place. Options at the time included iGoogle, PageFlakes, NetVibes, and Symbaloo. These sites offer a means to compile or pull together content from a variety of web applications. A web widget or gadget is a bit of code that is executed within the personal web page to pull up external content from other sites. The students in this case designed the personal web page using the gadgets needed in the format that best met their learning goals. Figure 3 is an instructor example of a personal webpage that includes the reader, email, personal blog, note taking program, and social bookmarks on one page.
  • The personal learning environment can take the place of a traditional textbook, though does not preclude the student from using a textbook or accessing one or more numerous open source texts that may be available for the research topic. The goal is to access content from many sources to effectively meet the learning objectives. The next challenge is to determine whether those objectives have been met.
  • ...1 more annotation...
  • AssessmentThere were four components of the assessment process for this test case of the Networked Student Model: (1) Ongoing performance assessment in the form of weekly assignments to facilitate the construction and maintenance of the personal learning environment, (2) rubric-based assessment of the personal learning environment at the end of the project, (3) written essay, and (4) multimedia synthesis of topic content. Points were earned for meeting the following requirements: Identify ten reliable resources and post to social bookmarking account. At least three new resources should be added each week. Subscribe and respond to at least 3 new blogs each week. Follow these blogs and news alerts using the reader. Subscribe to and listen to at least two podcasts (if available). Respectfully contact and request a video conference from a subject matter expert recognised in the field. Maintain daily notes and highlight resources as needed in digital notebook. Post at least a one-paragraph reflection in personal blog each day. At the end of the project, the personal learning environment was assessed with a rubric that encompassed each of the items listed above. The student's ability to synthesise the research was further evaluated with a reflective essay. Writing shapes thinking (Langer & Applebee, 1987), and the essay requirement was one more avenue through which the students demonstrated higher order learning. The personal blog provided an opportunity for regular reflection during the course of the project. The essay was the culmination of the reflections along with a thoughtful synthesis of the learning experience. Students were instructed to articulate what was learned about the selected topic and why others should care or be concerned. The essay provided an overview of everything learned about the contemporary issue. It was well organised, detailed, and long enough to serve as a resource for others who wished to learn from the work. As part of a final exam, the students were required to access the final projects of their classmates and reflect on what they learned from this exposure. The purpose of this activity was to give the students an additional opportunity to share and learn from each other. Creativity is considered a key 21st century skill (Partnership for 21st Century Skills, 2009). A number of emerging web applications support the academic creative process. Students in this project used web tools to combine text, video, audio, and photographs to teach the research topics to others. The final multimedia project was posted or embedded on the student's personal wiki page. Analysis and assessment of student work was facilitated by the very technologies in use by the students. In order to follow their progress, the teacher simply subscribed to student social bookmarking accounts, readers, and blogs. Clicking through daily contributions was relatively quick and efficient.
  • Carole Redline on 27 Sep 10
     
    Scholarly and important but also practical. Scroll down for an incredible chart of ideas that challenges older students to take charge of their own learning.
meghankelly492

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."
pepe1976

SLAVERY | The Handbook of Texas Online| Texas State Historical Association (TSHA) - 26 views

www.tshaonline.org/...yps01

EDT5372

shared by pepe1976 on 12 Nov 11 - No Cached
  • SLAVERY. Texas was the last frontier of slavery in the United States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin's colony. The original empresario commission given Moses Austin by Spanish authorities in 1821 did not mention slaves, but when Stephen Austin was recognized as heir to his father's contract later that year, it was agreed that settlers could receive eighty acres of land for each bondsman brought to Texas. Enough of Austin's original 300 families brought slaves with them that a census of his colony in 1825 showed 443 in a total population of 1,800. The independence of Mexico cast doubt on the future of the institution in Texas. From 1821 until 1836 both the national government in Mexico City and the state government of Coahuila and Texas threatened to restrict or destroy black servitude. Neither government adopted any consistent or effective policy to prevent slavery in Texas; nevertheless, their threats worried slaveholders and possibly retarded the immigration of planters from the Old South. In 1836 Texas had an estimated population of 38,470, only 5,000 of whom were slaves.
  • SLAVERY . Texas was the last frontier of slavery in the United States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin 's colony. The original empresario commission given Moses Austin by Spanish authorities in 1821 did not mention slaves, but when Stephen Austin was recognized as heir to his father's contract later that year, it was agreed that settlers could receive eighty acres of land for each bondsman brought to Texas. Enough of Austin's original 300 families brought slaves with them that a census of his colony in 1825 showed 443 in a total population of 1,800. The independence of Mexico cast doubt on the future of the institution in Texas. From 1821 until 1836 both the national government in Mexico City and the state government of Coahuila and Texas threatened to restrict or destroy black servitude. Neither government adopted any consistent or effective policy to prevent slavery in Texas; nevertheless, their threats worried slaveholders and possibly retarded the immigration of planters from the Old South. In 1836 Texas had an estimated population of 38,470, only 5,000 of whom were slaves
  • States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin 's colony
  • pepe1976 on 12 Nov 11
     
    The issue of Slavery in Texas before, during and post Texas Revolution and the establishment of a new government.
meghankelly492

Music performance skills: A two-pronged approach - facilitating optimal music performan... - 1 views

journals.sagepub.com/...0305735618765349

anxiety Music

shared by meghankelly492 on 21 Aug 19 - No Cached
  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
  • ...19 more annotations...
  • The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
  • Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
  • There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners
  • Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
  • “when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
  • Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin & Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
  • This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark & Williamon, 2011; Hoffman & Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
  • Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
  • The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
  • Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
  • “Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
  • Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
  • Cohen, S., & Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
Mark Swartz

Role and Function of Theory in Online Education Development and Delivery - 3 views

cde.athabascau.ca/...ch1.html

learning theory elearning teaching onlinelearning

shared by Mark Swartz on 01 May 11 - Cached
  • According to Bonk and Reynolds (1997), to promote higher-order thinking on the Web, online learning must create challenging activities that enable learners to link new information to old, acquire meaningful knowledge, and use their metacognitive abilities; hence, it is the instructional strategy and not the technology tha
  • According to Bonk and Reynolds (1997), to promote higher-order thinking on the Web, online learning must create challenging activities that enable learners to link new information to old, acquire meaningful knowledge, and use their metacognitive abilities; hence, it is the instructional strategy and not the technology that influences the quality of learning.
  • However, it is not the computer per se that makes students learn, but the design of the real-life models and simulations, and the students' interaction with those models and simulations. The computer is merely the vehicle that provides the processing capability and delivers the instruction to learners (Clark, 2001).
  • ...35 more annotations...
  • Online learning allows for flexibility of access, from anywhere and usually at anytime—essentially, it allows participants to collapse time and space (Cole, 2000)—however, the learning materials must be designed properly to engage the learner and promote learning.
  • Cognitive psychology claims that learning involves the use of memory, motivation, and thinking, and that reflection plays an important part in learning.
  • The development of effective online learning materials should be based on proven and sound learning theories.
  • Early computer learning systems were designed based on a behaviorist approach to learning. The behaviorist school of thought, influenced by Thorndike (1913), Pavlov (1927), and Skinner (1974), postulates that learning is a change in observable behavior caused by external stimuli in the environment (Skinner, 1974).
  • Therefore, before any learning materials are developed, educators must, tacitly or explicitly, know the principles of learning and how students learn.
  • Constructivist theorists claim that learners interpret information and the world according to their personal reality, and that they learn by observation, processing, and interpretation, and then personalize the information into personal knowledge (Cooper, 1993; Wilson, 1997).
  • The design of online learning materials can include principles from all three. According to Ertmer and Newby (1993), the three schools of thought can in fact be used as a taxonomy for learning. Behaviorists' strategies can be used to teach the “what” (facts), cognitive strategies can be used to teach the “how” (processes and principles), and constructivist strategies can be used to teach the “why” (higher level thinking that promotes personal meaning and situated and contextual learning).
  • The behaviorist school sees the mind as a “black box,” in the sense that a response to a stimulus can be observed quantitatively, totally ignoring the effect of thought processes occurring in the mind.
  • Learners should be told the explicit outcomes of the learning so that they can set expectations and can judge for themselves whether or not they have achieved the outcome of the online lesson. 2.  Learners must be tested to determine whether or not they have achieved the learning outcome. Online testing or other forms of testing and assessment should be integrated into the learning sequence to check the learner's achievement level and to provide appropriate feedback. 3.  Learning materials must be sequenced appropriately to promote learning. The sequencing could take the form of simple to complex, known to unknown, and knowledge to application. 4.  Learners must be provided with feedback so that they can monitor how they are doing and take corrective action if required.
  • Cognitivists see learning as an internal process that involves memory, thinking, reflection, abstraction, motivation, and meta-cognition.
  • Online instruction must use strategies to allow learners to attend to the learning materials so that they can be transferred from the senses to the sensory store and then to working memory.
  • Online learning strategies must present the materials and use strategies to enable students to process the materials efficiently.
  • information should be organized or chunked in pieces of appropriate size to facilitate processing.
  • Use advance organizers to activate an existing cognitive structure or to provide the information to incorporate the details of the lesson (Ausubel, 1960).
  • Use pre-instructional questions to set expectations and to activate the learners' existing knowledge structure.
  • Use prerequisite test questions to activate the prerequisite knowledge structure required for learning the new materials.
  • To facilitate deep processing, learners should be asked to generate the information maps during the learning process or as a summary activity after the lesson (Bonk & Reynolds, 1997).
  • The cognitive school recognizes the importance of individual differences, and of including a variety of learning strategies in online instruction to accommodate those differences
  • The Kolb Learning Style Inventory (LSI) (Kolb, 1984) looks at how learners perceive and process information, whereas the Myers-Briggs Type Indicator (Myers, 1978) uses dichotomous scales to measure extroversion versus introversion, sensing versus intuition, thinking versus feeling, and judging versus perception. In the following discussion, we consider the Kolb Learning Style Inventory.
  • Attention: Capture the learners' attention at the start of the lesson and maintain it throughout the lesson. The online learning materials must include an activity at the start of the learning session to connect with the learners. Relevance: Inform learners of the importance of the lesson and how taking the lesson could benefit them. Strategies could include describing how learners will benefit from taking the lesson, and how they can use what they learn in real-life situations. This strategy helps to contextualize the learning and make it more meaningful, thereby maintaining interest throughout the learning session. Confidence: Use strategies such as designing for success and informing learners of the lesson expectations. Design for success by sequencing from simple to complex, or known to unknown, and use a competency-based approach where learners are given the opportunity to use different strategies to complete the lesson. Inform learners of the lesson outcome and provide ongoing encouragement to complete the lesson. Satisfaction: Provide feedback on performance and allow learners to apply what they learn in real-life situations. Learners like to know how they are doing, and they like to contextualize what they are learning by applying the information in real life.
  • Online strategies that facilitate the transfer of learning should be used to encourage application in different and real-life situations.
  • Constructivists see learners as being active rather than passive.
  • it is the individual learner's interpretation and processing of what is received through the senses that creates knowledge.
  • “the process of using a prior interpretation to construe a new or revised interpretation of the meaning of one's experience in order to guide future action” (p. 12).
  • Learning should be an active process. Keeping learners active doing meaningful activities results in high-level processing, which facilitates the creation of personalized meaning. Asking learners to apply the information in a practical situation is an active process, and facilitates personal interpretation and relevance.
  • Learners should construct their own knowledge rather than accepting that given by the instructor.
  • Collaborative and cooperative learning should be encouraged to facilitate constructivist learning (H
  • When assigning learners for group work, membership should be based on the expertise level and learning style of individual group members, so that individual team members can benefit from one another's strengths.
  •   Learners should be given control of the learning process
  • Learners should be given time and opportunity to reflect.
  • Learning should be made meaningful for learners. The learning materials should include examples that relate to students, so that they can make sense of the information.
  • Learning should be interactive to promote higher-level learning and social presence, and to help develop personal meaning. According to Heinich et al. (2002), learning is the development of new knowledge, skills, and attitudes as the learner interacts with information and the environment. Interaction is also critical to creating a sense of presence and a sense of community for online learners, and to promoting transformational learning (Murphy & Cifuentes, 2001). Learners receive the learning materials through the technology, process the information, and then personalize and contextualize the information.
  • Figure 1-6. Components of effective online learning.
  • Behaviorist strategies can be used to teach the facts (what); cognitivist strategies to teach the principles and processes (how); and constructivist strategies to teach the real-life and personal applications and contextual learning. There is a shift toward constructive learning, in which learners are given the opportunity to construct their own meaning from the information presented during the online sessions. The use of learning objects to promote flexibility and reuse of online materials to meet the needs of individual learners will become more common in the future. Online learning materials will be designed in small coherent segments, so that they can be redesigned for different learners and different contexts. Finally, online learning will be increasingly diverse to respond to different learning cultures, styles, and motivations.
  • Online instruction occurs when learners use the Web to go through the sequence of instruction, to complete the learning activities, and to achieve learning outcomes and objectives (Ally, 2002; Ritchie & Hoffman, 1997).
  • Mark Swartz on 01 May 11
     
    From:  FOUNDATIONS OF EDUCATIONAL THEORY FOR ONLINE LEARNING
Christophe Gigon

elearnspace. Connectivism: A Learning Theory for the Digital Age - 17 views

www.elearnspace.org/...connectivism.htm

connectivism MEMOIRE learning elearning theory collaboration technology community

shared by Christophe Gigon on 09 Dec 08 - Cached
  • Over the last twenty years, technology has reorganized how we live, how we communicate, and how we learn.
    • Rose Molter
      Rose Molter on 30 Aug 11
       
      I aggree that as teachers we need to realize that technology has changed instruction and the way that our students learn and the way that we learn and instruct.
    • Orlando Gonzalez
      Orlando Gonzalez on 13 Mar 12
       
      Technology has always changed the way we live. How did we respond to changes in the past? One thought is that some institutions, some businesses disappeared, while others, who took advantage of the new tech, appeared to replace the old. It will happen again and we as educators need to lead the way.
    • Maureen Curran
      Maureen Curran on 24 Mar 12
       
      With technology our students brains are wired differently and they can multi-task and learn in multiple virtual environments all at once. This should make us think about how we present lessons, structure learning and keep kids engaged.
    • Mike Burnett
      Mike Burnett on 18 Aug 14
       
      Rubbish. The idea that digital native are adept at multitasking is wrong. They may be doing many things but the quality and depth is reduced. There is a significant body of research to support this. Development of grit and determination are key attributes of successful people. Set and demand high standards. No one plays sport or an instrument because it is easy rather because they can clearly see a link between hard work and pleasure.
  • Information development was slow.
  • Many learners will move into a variety of different, possibly unrelated fields over the course of their lifetime.
  • ...41 more annotations...
  • Informal learning is a significant aspect of our learning experience.
  • Learning is a continual process, lasting for a lifetime.
  • Technology is altering (rewiring) our brains.
  • Connectivism is the integration of principles explored by chaos, network, and complexity and self-organization theories.
  • Principles of connectivism:
  • Learning and knowledge rests in diversity of opinions. Learning is a process of connecting specialized nodes or information sources. Learning may reside in non-human appliances. Capacity to know more is more critical than what is currently known Nurturing and maintaining connections is needed to facilitate continual learning. Ability to see connections between fields, ideas, and concepts is a core skill. Currency (accurate, up-to-date knowledge) is the intent of all connectivist learning activities. Decision-making is itself a learning process. Choosing what to learn and the meaning of incoming information is seen through the lens of a shifting reality. While there is a right answer now, it may be wrong tomorrow due to alterations in the information climate affecting the decision.
    • Rose Molter
      Rose Molter on 30 Aug 11
       
      I think it is important for us to realize the importance of connections.
  • The organization and the individual are both learning organisms.
  • Classrooms which emulate the “fuzziness”
    • Maureen Curran
      Maureen Curran on 24 Mar 12
       
      So what does this look like? I feel that when I attempt this, evaluators and administrators don't necessarily understand. They want a neat, quiet, well-managed, orderly classroom.
    • Maureen Curran
      Maureen Curran on 24 Mar 12
       
      If new learning approaches are required, then why are we still being evaluated in a linear way?
  • John Seely Brown presents an interesting notion that the internet leverages the small efforts of many with the large efforts of few.
  • The pipe is more important than the content within the pipe. Our ability to learn what we need for tomorrow is more important than what we know today.
  • Knowledge is growing exponentially
  • amount of knowledge
  • is doubling every 18 months
  • To combat the shrinking half-life of knowledge, organizations have been forced to develop new methods of deploying instruction.”
  • (the understanding of where to find knowledge needed).
  • know-where
  • learning
  • a persisting change in human performance or performance potential…[which] must come about as a result of the learner’s experience and interaction with the world”
  • Learning theories are concerned with the actual process of learning, not with the value of what is being learned.
  • The ability to synthesize and recognize connections and patterns is a valuable skill.
  • knowledge is no longer acquired in the linear manner
  • What is the impact of chaos as a complex pattern recognition process on learning
  • An entirely new approach is needed.
  • Chaos is the breakdown of predictability, evidenced in complicated arrangements that initially defy order.
  • Meaning-making and forming connections between specialized communities are important activities.
  • Chaos, as a science, recognizes the connection of everything to everything.
  • If the underlying conditions used to make decisions change, the decision itself is no longer as correct as it was at the time it was made.
  • principle that people, groups, systems, nodes, entities can be connected to create an integrated whole.
  • Connections between disparate ideas and fields can create new innovations.
  • Learning is a process that occurs within nebulous environments of shifting core elements – not entirely under the control of the individual
  • decisions are based on rapidly altering foundations
  • The ability to draw distinctions between important and unimportant information is vital.
  • Behaviorism, cognitivism, and constructivism do not attempt to address the challenges of organizational knowledge and transference.
  • The health of the learning ecology of the organization depends on effective nurturing of information flow.
  • This cycle of knowledge development (personal to network to organization) allows learners to remain current in their field through the connections they have formed.
  • This amplification of learning, knowledge and understanding through the extension of a personal network is the epitome of connectivism.
  • Diverse teams of varying viewpoints are a critical structure for completely exploring ideas
  • An organizations ability to foster, nurture, and synthesize the impacts of varying views of information is critical to knowledge economy surviva
  • As knowledge continues to grow and evolve, access to what is needed is more important than what the learner currently possesses.
    • BalancEd Tech
      BalancEd Tech on 25 Mar 12
       
      Access is not enough. Prior knowledge and understanding is needed. Processing is needed. Evaluation of processing and outputs is needed. Feeding that back into the "system" is needed.
  • learning is no longer an internal, individualistic activity
  • learning is no longer an internal, individualistic activity
Jac Londe

17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and scu... - 10 views

www.law.cornell.edu/...113

u s code scope exclusive graphic works information

shared by Jac Londe on 23 Jan 14 - No Cached
  • U.S. Code › Title 17 › Chapter 1 › § 113 17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and sculptural works
  • (a) Subject to the provisions of subsections (b) and (c) of this section, the exclusive right to reproduce a copyrighted pictorial, graphic, or sculptural work in copies under section 106 includes the right to reproduce the work in or on any kind of article, whether useful or otherwise.
  • (b) This title does not afford, to the owner of copyright in a work that portrays a useful article as such, any greater or lesser rights with respect to the making, distribution, or display of the useful article so portrayed than those afforded to such works under the law, whether title 17 or the common law or statutes of a State, in effect on December 31, 1977, as held applicable and construed by a court in an action brought under this title.
  • ...8 more annotations...
  • (c) In the case of a work lawfully reproduced in useful articles that have been offered for sale or other distribution to the public, copyright does not include any right to prevent the making, distribution, or display of pictures or photographs of such articles in connection with advertisements or commentaries related to the distribution or display of such articles, or in connection with news reports.
  • (d) (1) In a case in which— (A) a work of visual art has been incorporated in or made part of a building in such a way that removing the work from the building will cause the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), and
  • (B) the author consented to the installation of the work in the building either before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, or in a written instrument executed on or after such effective date that is signed by the owner of the building and the author and that specifies that installation of the work may subject the work to destruction, distortion, mutilation, or other modification, by reason of its removal,
  • then the rights conferred by paragraphs (2) and (3) of section 106A (a) shall not apply.
  • (2) If the owner of a building wishes to remove a work of visual art which is a part of such building and which can be removed from the building without the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), the author’s rights under paragraphs (2) and (3) of section 106A (a) shall apply unless—
  • (A) the owner has made a diligent, good faith attempt without success to notify the author of the owner’s intended action affecting the work of visual art, or (B) the owner did provide such notice in writing and the person so notified failed, within 90 days after receiving such notice, either to remove the work or to pay for its removal.
  • For purposes of subparagraph (A), an owner shall be presumed to have made a diligent, good faith attempt to send notice if the owner sent such notice by registered mail to the author at the most recent address of the author that was recorded with the Register of Copyrights pursuant to paragraph (3). If the work is removed at the expense of the author, title to that copy of the work shall be deemed to be in the author.
  • (3) The Register of Copyrights shall establish a system of records whereby any author of a work of visual art that has been incorporated in or made part of a building, may record his or her identity and address with the Copyright Office. The Register shall also establish procedures under which any such author may update the information so recorded, and procedures under which owners of buildings may record with the Copyright Office evidence of their efforts to comply with this subsection.
Misha Miller

Using Groups Effectively: 10 Principles » Edurati Review - 50 views

eduratireview.com/...oups-effectively-10-principles

collaboration groups pedagogy

shared by Misha Miller on 20 May 13 - No Cached
  • Misha Miller on 20 May 13
     
    "Conversation is key . Sawyer succinctly explains this principle: "Conversation leads to flow, and flow leads to creativity." When having students work in groups, consider what will spark rich conversation. The original researcher on flow, Mihaly Csikszentmihalyi, found that rich conversation precedes and ignites flow more than any other activity.1 Tasks that require (or force) interaction lead to richer collaborative conceptualization. Set a clear but open-ended goal . Groups produce the richest ideas when they have a goal that will focus their interaction but also has fluid enough boundaries to allow for creativity. This is a challenge we often overlook. As teachers, we often have an idea of what a group's final product should look like (or sound like, or…). If we put students into groups to produce a predetermined outcome, we prevent creative thinking from finding an entry point. Try not announcing time limits. As teachers we often use a time limit as a "motivator" that we hope will keep group work focused. In reality, this may be a major detractor from quality group work. Deadlines, according to Sawyer, tend to impede flow and produce lower quality results. Groups produce their best work in low-pressure situations. Without a need to "keep one eye on the clock," the group's focus can be fully given to the task. Do not appoint a group "leader." In research studies, supervisors, or group leaders, tend to subvert flow unless they participate as an equal, listening and allowing the group's thoughts and decisions to guide the interaction. Keep it small. Groups with the minimum number of members that are needed to accomplish a task are more efficient and effective. Consider weaving together individual and group work. For additive tasks-tasks in whicha group is expectedtoproduce a list, adding one idea to another-research suggests that better results develop
James Spagnoletti

Göbekli Tepe - Pictures, More From National Geographic Magazine - 67 views

ngm.nationalgeographic.com/...1

religion history anthropology WHAP

shared by James Spagnoletti on 17 Sep 11 - No Cached
Ruth Howard liked it
  • The Birth of ReligionWe used to think agriculture gave rise to cities and later to writing, art, and religion. Now the world’s oldest temple suggests the urge to worship sparked civilization.
  • Before them are dozens of massive stone pillars arranged into a set of rings, one mashed up against the next. Known as Göbekli Tepe (pronounced Guh-behk-LEE TEH-peh), the site is vaguely reminiscent of Stonehenge, except that Göbekli Tepe was built much earlier and is made not from roughly hewn blocks but from cleanly carved limestone pillars splashed with bas-reliefs of animals—a cavalcade of gazelles, snakes, foxes, scorpions, and ferocious wild boars. The assemblage was built some 11,600 years ago, seven millennia before the Great Pyramid of Giza. It contains the oldest known temple. Indeed, Göbekli Tepe is the oldest known example of monumental architecture—the first structure human beings put together that was bigger and more complicated than a hut. When these pillars were erected, so far as we know, nothing of comparable scale existed in the world.
  • At the time of Göbekli Tepe's construction much of the human race lived in small nomadic bands that survived by foraging for plants and hunting wild animals. Construction of the site would have required more people coming together in one place than had likely occurred before. Amazingly, the temple's builders were able to cut, shape, and transport 16-ton stones hundreds of feet despite having no wheels or beasts of burden. The pilgrims who came to Göbekli Tepe lived in a world without writing, metal, or pottery; to those approaching the temple from below, its pillars must have loomed overhead like rigid giants, the animals on the stones shivering in the firelight—emissaries from a spiritual world that the human mind may have only begun to envision.
  • ...15 more annotations...
  • Archaeologists are still excavating Göbekli Tepe and debating its meaning. What they do know is that the site is the most significant in a volley of unexpected findings that have overturned earlier ideas about our species' deep past. Just 20 years ago most researchers believed they knew the time, place, and rough sequence of the Neolithic Revolution—the critical transition that resulted in the birth of agriculture, taking Homo sapiens from scattered groups of hunter-gatherers to farming villages and from there to technologically sophisticated societies with great temples and towers and kings and priests who directed the labor of their subjects and recorded their feats in written form. But in recent years multiple new discoveries, Göbekli Tepe preeminent among them, have begun forcing archaeologists to reconsider. At first the Neolithic Revolution was viewed as a single event—a sudden flash of genius—that occurred in a single location, Mesopotamia, between the Tigris and Euphrates Rivers in what is now southern Iraq, then spread to India, Europe, and beyond. Most archaeologists believed this sudden blossoming of civilization was driven largely by environmental changes: a gradual warming as the Ice Age ended that allowed some people to begin cultivating plants and herding animals in abundance. The new research suggests that the "revolution" was actually carried out by many hands across a huge area and over thousands of years. And it may have been driven not by the environment but by something else entirely.
  • Most of the world's great religious centers, past and present, have been destinations for pilgrimages
  • Göbekli Tepe may be the first of all of them, the beginning of a pattern. What it suggests, at least to the archaeologists working there, is that the human sense of the sacred—and the human love of a good spectacle—may have given rise to civilization itself.
  • n the 1960s archaeologists from the University of Chicago had surveyed the region and concluded that Göbekli Tepe was of little interest. Disturbance was evident at the top of the hill, but they attributed it to the activities of a Byzantine-era military outpo
  • To Schmidt, the T-shaped pillars are stylized human beings, an idea bolstered by the carved arms that angle from the "shoulders" of some pillars, hands reaching toward their loincloth-draped bellies. The stones face the center of the circle—as at "a meeting or dance," Schmidt says—a representation, perhaps, of a religious ritual. As for the prancing, leaping animals on the figures, he noted that they are mostly deadly creatures: stinging scorpions, charging boars, ferocious lions. The figures represented by the pillars may be guarded by them, or appeasing them, or incorporating them as totems.
  • nches below the surface the team struck an elaborately fashioned stone. Then another, and another—a ring of standing pillars.
  • Geomagnetic surveys in 2003 revealed at least 20 rings piled together, higgledy-piggledy, under the earth.
  • he pillars were big—the tallest are 18 feet in height and weigh 16 tons. Swarming over their surfaces was a menagerie of animal bas-reliefs, each in a different style, some roughly rendered, a few as refined and symbolic as Byzantine art.
  • The circles follow a common design. All are made from limestone pillars shaped like giant spikes or capital T's.
  • They hadn't yet mastered engineering." Knoll speculated that the pillars may have been propped up, perhaps by wooden posts.
  • Within minutes of getting there," Schmidt says, he realized that he was looking at a place where scores or even hundreds of people had worked in millennia past.
  • Puzzle piled upon puzzle as the excavation continued. For reasons yet unknown, the rings at Göbekli Tepe seem to have regularly lost their power, or at least their charm. Every few decades people buried the pillars and put up new stones—a second, smaller ring, inside the first.
  • he site may have been built, filled in, and built again for centuries.
  • Bewilderingly, the people at Göbekli Tepe got steadily worse at temple building.
  • Finally the effort seems to have petered out altogether by 8200 B.C. Göbekli Tepe was all fall and no rise.
Marianne Hart

The Creativity Crisis - Newsweek - 48 views

www.newsweek.com/...the-creativity-crisis.html

shared by Marianne Hart on 13 Jul 10 - Cached
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • “Creativity can be taught,”
  • it’s left to the luck of the draw who becomes creative: there’s no concerted effort to nurture the creativity of all children
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Students are labeled as "creative" if they display a knack for art or music, and sometimes in writing, however, they are rarely recognized as creative in math or science where a lot of creativity is not only needed, but excellent for learning within those very two disciplines.
    • Bill Genereux
      Bill Genereux on 23 Aug 10
       
      This is precisely why creativity education is important. It is needed everywhere, not just in the arts. Those teaching outside of arts education need to start recognizing the importance of creative thinking as well.
  • ...23 more annotations...
  • When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”
  • The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.
  • When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better
    • Ed Webb
      Ed Webb on 23 Jul 10
       
      Surely, "more quickly"?
  • Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Likely because it was out of necessity and the hardships of life. Not that we don't have hardships and necessities, but innovation has solved a lot of problems and automation has made skills and tasks easy.
  • What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Everyday process of work or school... over time, consistent and non-prescriptive.
  • kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.
  • project-based learning
  • highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.
  • When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.
  • solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others
  • The age-old belief that the arts have a special claim to creativity is unfounded.
  • When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.
  • The lore of pop psychology is that creativity occurs on the right side of the brain. But we now know that if you tried to be creative using only the right side of your brain, it’d be like living with ideas perpetually at the tip of your tongue, just beyond reach
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.
  • The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer
  • The new view is that creativity is part of normal brain function.
  • “As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”
  • In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.
  • fact-finding
  • problem-finding
  • Next, idea-finding
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • Christian Howd on 13 Jul 10
     
    For the first time, research shows that American creativity is declining. What went wrong-and how we can fix it.
Shannon Smith

Need resources to assist in creating a 21st century learner training/ professional deve... - 133 views

Thank you! This is great information! James McKee wrote: > Shannon, > > I was recently referred to this video of Michael Wesch who teaches cultural anthropology at Kansas State University. He ...

professional development 21st century learners technology

started by Shannon Smith on 22 Nov 08 8 follow-ups, last by Shannon Smith on 04 Dec 08
dabennett7

Homage or Theft? A Closer Look at the 'Blurred Lines' Verdict - Law Blog - WSJ - 18 views

blogs.wsj.com/...k-at-the-blurred-lines-verdict

shared by dabennett7 on 29 Mar 15 - Cached
  • A federal jury in Los Angeles on Tuesday ordered singers Robin Thicke and Pharrell Williams to pay about $7.4 million to the family of Marvin Gaye, after finding the duo’s 2013 hit song “Blurred Lines” copied parts of Mr. Gaye’s “Got to Give it Up.”
    • dabennett7
      dabennett7 on 29 Mar 15
       
      Attribution and intellectual property are a real concern for everyone. Remixing ideas is not a new practice, but in the 21st century it is easier than ever. How do we help prepare our students for careers in the 21st century?
  • only to compare “Blurred Lines” to the sheet music composition of “Got to Give it Up.” So the jury only heard a stripped down version of Mr. Gaye’s song, with his lyrics over a bass line and keyboards.
    • dabennett7
      dabennett7 on 29 Mar 15
       
      Attribution and intellectual property are a real concern for everyone. Remixing ideas is not a new practice, but in the 21st century it is easier than ever. How do we help prepare our students for careers in the 21st century?
  • substantial copying
    • dabennett7
      dabennett7 on 29 Mar 15
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
  • ...3 more annotations...
  • Use extreme caution when referencing your forebears in song (without first getting permission, of course)
    • dabennett7
      dabennett7 on 29 Mar 15
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
  • It will cause people who want to want to evoke the past to perhaps refrain from doing so
    • dabennett7
      dabennett7 on 29 Mar 15
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
  • a step backward
    • dabennett7
      dabennett7 on 29 Mar 15
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
pepe1976

Causes of Texas Revolution - 9 views

www.austincc.edu/...causes.html

EDT5372

shared by pepe1976 on 12 Nov 11 - Cached
  • "Many a Cause, Many a Conflict: The Texas Revolution" Introduction Volumes sufficient to fill multiple warehouses have been written about the Texas Revolution of 1836 in the century and a half since it culminated in the seventeen minute Battle of San Jacinto. Few topics have inspired such polarized feelings. Many blame Mexico's loss of her northernmost regions on a conscious premeditated conspiracy of Anglo-Americans in the United States to steal Texas by whatever means possible. This conspiracy, supported by the American government in Washington, D.C., first bore fruit in 1835-36 with the Texas Revolution and culminated ten years later with the Mexican War which resulted in the loss of the present-day states of New Mexico, Colorado, Nevada, Utah, Arizona, and California. At the other end of the continuum are those who blame the Mexican people for the misrule of Texas and the ruthless dictatorship of Santa Anna for provoking a fully justified rebellion by Anglo-Americans and Tejanos. While such extreme positions are far too simplistic to explain the events of 1835-36, they continue to be voiced today - a century and a half after the fact.
  • pepe1976 on 12 Nov 11
     
    Volumes sufficient to fill multiple warehouses have been written about the Texas Revolution of 1836 in the century and a half since it culminated in the seventeen minute Battle of San Jacinto. Few topics have inspired such polarized feelings. Many blame Mexico's loss of her northernmost regions on a conscious premeditated conspiracy of Anglo-Americans in the United States to steal Texas by whatever means possible. This conspiracy, supported by the American government in Washington, D.C., first bore fruit in 1835-36 with the Texas Revolution and culminated ten years later with the Mexican War which resulted in the loss of the present-day states of New Mexico, Colorado, Nevada, Utah, Arizona, and California. At the other end of the continuum are those who blame the Mexican people for the misrule of Texas and the ruthless dictatorship of Santa Anna for provoking a fully justified rebellion by Anglo-Americans and Tejanos. While such extreme positions are far too simplistic to explain the events of 1835-36, they continue to be voiced today - a century and a half after the fact.
Jon Tanner

What's the point of media specialists...? on School Library Journal - 49 views

www.schoollibraryjournal.com/...1860043986.html

neverendingsearch lms media specialist socialmedia

shared by Jon Tanner on 03 Dec 09 - Cached
  • Jon Tanner on 03 Dec 09
     
    "Joyce Valenza Ph.D On the librarian: What's the point . . ? The Twitter conversation April 30, 2009 @karlfisch: What's the point of having a media specialist if they aren't specialists in the media forms of the day? I was nearly finished copying and pasting, figuring out how best to post Tuesday's Twitter conversation, when I discovered that Karl Fisch (@karlfisch), who kinda started it all, already took care of that. (You likely know of Karl's very popular and provocative videos.) I am still not sure how best to frame this conversation on the place of the information/media specialist in today's school. What is clear is that a lot of smart people--people who are out there teaching, speaking, moving, and shaking--are disappointed in what they see when they see school librarians. Either we have a perception problem or we need to do some serious retooling. I'd say we have to deal with both. In a hurry. Being an information (or media) specialist today means being an expert in how information and media flow TODAY! It is about knowing how information and media are created and communicated. How to evalute, synthesize, and ethically use information and media in all their varied forms. It is about being able to communicate knowlege in new ways for new audiences using powerful new information and communication tools. Forgive me if it hurts. In my mind, if you are not an expert in new information and communication tools, you are NOT a media specialist for today. Tuesday's conversation happened in the open, on Twitter. We need to be aware that these conversations are happening where we cannot hear them--at conferences, at Board and cabinet meetings. We also need to make sure that our voices are heard and that we hear the voices of others in places like Twitter, where so many educational leaders and thinkers are chatting about us and many other things. I've selected the remarks that resonated loudest for me. (I've shuffled a bit, but you can visit Karl'
Maureen Greenbaum

The Future of College? - The Atlantic - 29 views

www.theatlantic.com/...375071

future college education pedagogy

shared by Maureen Greenbaum on 16 Aug 14 - No Cached
  • proprietary online platform developed to apply pedagogical practices that have been studied and vetted by one of the world’s foremost psychologists, a former Harvard dean named Stephen M. Kosslyn, who joined Minerva in 2012.
  • inductive reasoning
  • Minerva class extended no refuge for the timid, nor privilege for the garrulous. Within seconds, every student had to provide an answer, and Bonabeau displayed our choices so that we could be called upon to defend them.
  • ...45 more annotations...
  • subjecting us to pop quizzes, cold calls, and pedagogical tactics that during an in-the-flesh seminar would have taken precious minutes of class time to arrange.
  • felt decidedly unlike a normal classroom. For one thing, it was exhausting: a continuous period of forced engagement, with no relief in the form of time when my attention could flag
  • One educational psychologist, Ludy Benjamin, likens lectures to Velveeta cheese—something lots of people consume but no one considers either delicious or nourishing.)
  • because I had to answer a quiz question or articulate a position. I was forced, in effect, to learn
  • adically remake one of the most sclerotic sectors of the U.S. economy, one so shielded from the need for improvement that its biggest innovation in the past 30 years has been to double its costs and hire more administrators at higher salaries.
  • past half millennium, the technology of learning has hardly budge
  • fellow edu-nauts
  • Lectures are banned
  • attending class on Apple laptops
  • Lectures, Kosslyn says, are cost-effective but pedagogically unsound. “A great way to teach, but a terrible way to learn.”
  • Minerva boast is that it will strip the university experience down to the aspects that are shown to contribute directly to student learning. Lectures, gone. Tenure, gone. Gothic architecture, football, ivy crawling up the walls—gone, gone, gone.
  • “Your cash cow is the lecture, and the lecture is over,” he told a gathering of deans. “The lecture model ... will be obliterated.”
  • One imagines tumbleweeds rolling through abandoned quads and wrecking balls smashing through the windows of classrooms left empty by students who have plugged into new online platforms.
  • when you have a noncurated academic experience, you effectively don’t get educated.
  • Liberal-arts education is about developing the intellectual capacity of the individual, and learning to be a productive member of society. And you cannot do that without a curriculum.”
  • “The freshman year [as taught at traditional schools] should not exist,” Nelson says, suggesting that MOOCs can teach the basics. “Do your freshman year at home.”) Instead, Minerva’s first-year classes are designed to inculcate what Nelson calls “habits of mind” and “foundational concepts,” which are the basis for all sound systematic thought. In a science class, for example, students should develop a deep understanding of the need for controlled experiments. In a humanities class, they need to learn the classical techniques of rhetoric and develop basic persuasive skills. The curriculum then builds from that foundation.
  • What, he asks, does it mean to be educated?
  • methods will be tested against scientifically determined best practices
  • Subsidies, Nelson says, encourage universities to enroll even students who aren’t likely to thrive, and to raise tuition, since federal money is pegged to costs.
  • We have numerous sound, reproducible experiments that tell us how people learn, and what teachers can do to improve learning.” Some of the studies are ancient, by the standards of scientific research—and yet their lessons are almost wholly ignored.
  • memory of material is enhanced by “deep” cognitive tasks
  • he found the man’s view of education, in a word, faith-based
  • ask a student to explain a concept she has been studying, the very act of articulating it seems to lodge it in her memory. Forcing students to guess the answer to a problem, and to discuss their answers in small groups, seems to make them understand the problem better—even if they guess wrong.
  • e traditional concept of “cognitive styles”—visual versus aural learners, those who learn by doing versus those who learn by studying—is muddled and wrong.
  • pedagogical best practices Kosslyn has identified have been programmed into the Minerva platform so that they are easy for professors to apply. They are not only easy, in fact, but also compulsory, and professors will be trained intensively in how to use the platform.
  • Professors are able to sort students instantly, and by many metrics, for small-group work—
  • a pop quiz at the beginning of a class and (if the students are warned in advance) another one at a random moment later in the class greatly increases the durability of what is learned.
  • he could have alerted colleagues to best practices, but they most likely would have ignored them. “The classroom time is theirs, and it is sacrosanct,
  • Lectures, Kosslyn says, are pedagogically unsound,
  • I couldn’t wait for Minerva’s wrecking ball to demolish the ivory tower.
  • The MOOCs will eventually make lectures obsolete.”
  • Minerva’s model, Nelson says, will flourish in part because it will exploit free online content, rather than trying to compete with it, as traditional universities do.
  • The MOOCs will eventually make lectures obsolete.”
  • certain functions of universities have simply become less relevant as information has become more ubiquitous
  • Minerva challenges the field to return to first principles.
  • MOOCs will continue to get better, until eventually no one will pay Duke or Johns Hopkins for the possibility of a good lecture, when Coursera offers a reliably great one, with hundreds of thousands of five-star ratings, for free.
  • It took deep concentration,” he said. “It’s not some lecture class where you can just click ‘record’ on your tape.”
  • part of the process of education happens not just through good pedagogy but by having students in places where they see the scholars working and plying their trades.”
  • “hydraulic metaphor” of education—the idea that the main task of education is to increase the flow of knowledge into the student—an “old fallacy.”
  • I remembered what I was like as a teenager headed off to college, so ignorant of what college was and what it could be, and so reliant on the college itself to provide what I’d need in order to get a good education.
  • it is designed to convey not just information, as most MOOCs seem to, but whole mental tool kits that help students become morethoughtful citizens.
  • for all the high-minded talk of liberal education— of lighting fires and raising thoughtful citizens—is really just a credential, or an entry point to an old-boys network that gets you your first job and your first lunch with the machers at your alumni club.
  • Its seminar platform will challenge professors to stop thinking they’re using technology just because they lecture with PowerPoint.
  • professors and students increasingly separated geographically, mediated through technology that alters the nature of the student-teacher relationship
  • The idea that college will in two decades look exactly as it does today increasingly sounds like the forlorn, fingers-crossed hope of a higher-education dinosaur that retirement comes before extinction.
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