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

Deep-listening experiences, wrapped in a pedagogy of music listening, take students far beyond the surface of their barely noticeable surround-sound environment and into the nature of music and its workings.

Attentive-listening experiences occur when teachers point out specified points of focus, put questions or challenges to the listeners, or merge graphics or visuals with the sound experience itself. Graphs or maps of particular musical features can be helpful, since visual cues may enhance listening. Teachers can provide diagrams of the contours of the melody or depict rhythmic components of a piece through iconic symbols-staff notation, splotches of color, or geometric shapes, for example. Instruments, real or illustrated, can focus student attention on their entrance or continuing presence in the music.

Engaged listening invites listeners to enter into the groove or the flow of the music, pick a part to contribute, and consequently feel more involved in the music. A phenomenon of "participatory consciousness"[ 5] unfolds as engaged listeners find their place in the music, find something in the music to hang on to (a melody, a pulse, an ostinato, a groove), and select a contribution to make back to the music. In this way, they connect with the music, joining the recorded musicians and their live participant-colleagues in a musical team.

More and different types of learning and teaching are available in the digital environment. We must convince ourselves that we don’t yet understand digital education so we may open the doors more broadly to innovation and creativity

we shouldn’t set off on a cruise, and build the ship as we go

Few institutions pay much attention to re-creating these spaces online

I’m concerned that most one-to-one implementation strategies are based on the new tool as the focus of the program. Unless we break out of this limited vision that one-to-one computing is about the device, we are doomed to waste our resources.

Then, teachers are instructed to go! But go where?

I believe every student must have 24-7 access to the internet.