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meghankelly492

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

  • 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
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  • 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
Rob Weston

Stephen Downes: The Role of the Educator - 122 views

  • The Learner
  • The Collector
  • The Curator
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  • The Alchemist
  • The Programmer
  • The Salesperson
  • The Convener
  • The Coordinator
  • The Designer
  • The Coach
  • The Agitator
  • The Facilitator
  • Tech Support
  • The Moderator
  • The Critic
  • The Lecturer
  • The Demonstrator
  • The Mentor
  • The Bureaucrat
  • The Theorizer
  • The Sharer
  • The Evaluator
  • The Connector
    • Rob Weston
       
      In my opinion this is very true, there are few if any directives on how teachers should be facing the changes in the 21st Century, everybody is still focused on hardware rather than cloud computing and web 2.0.
    • Maureen Greenbaum
       
      Yes - it is a focus on the technology - as educaltors the focus should be on the pedagogy
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    This isn't just about online learning! How many of these roles do you fulfill as a teacher, "facilitator," or admin? How successful have professional development efforts been in getting teachers to try out new roles? How successful have they been in getting kids to try out some of these roles? What other roles are there for students?
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    Article comparing the lack of knowledge about the role of the educator at the moment with the blame put on 'bad teachers'.
Mark Gleeson

MyRead - Four Resources Guideposts - 3 views

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    The guideposts are a useful assessment tool based on how individual guides integrate the Four Roles/Resources of the Reader. The guidepost indicators may be used to monitor student learning. However, use the guideposts flexibly. While the guideposts do cover each of the Four Roles/Resources of the Reader, teachers may choose to focus on one or two roles or fewer indicators for each role. Teachers may also find that there are other learning outcomes which they would like to focus on and which reflect the particular needs of their students.
Florence Dujardin

E-learning in India: the role of national culture and strategic implications - 0 views

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    Purpose - The primary purpose of this research paper is to understand the role of national cultural dimensions on e-learning practices in India. India is considered a major player in the world economy today. US multinationals are significantly increasing their presence in India and understanding cultural preferences will help global companies transition better. Design/methodology/approach - This conceptual paper uses the national cultural dimensions of the global leadership and organizational behavior effectiveness project, which is identified as the most topical theoretical framework on culture. The national cultural scores are used to develop hypotheses for specific cultural dimensions. Examples from the literature are also used to strengthen the proposed hypotheses. Findings - This research proposes that national cultural dimensions of power distance, uncertainty avoidance, in-group collectivism, and future-orientation influence e-learning practices. This study distinguishes between synchronous and asynchronous methods of e-learning and the role of culture on the same. Future research can definitely empirically test the hypotheses proposed. Practical implications - This study provides strategic implications for multinationals with a guide sheet identifying the role of the various cultural dimensions on e-learning. The suggested strategies can be implemented by multinationals in other countries with similar national cultural dimensions also. Originality/value - This research also proposes a theoretical e-learning model identifying the impact of national cultural dimensions on e-learning practices. This research also provides practitioners a strategic implications model that could be implemented for e-learning initiatives in multinationals.
spdrmn7

Untitled Site - 3 views

  • This step is to be done independently!
  • This step is to be done independently!
  • In your groups, compare which instruments you all chose to explore and learn. 
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  • 
  • In your groups, compare which instruments you all chose to explore and learn.
  • In your groups, compare which instruments you all chose to explore and learn
  • instruments
smilex3md

23 Roles of The 21st Century Educator ~ Educational Technology and Mobile Learning - 110 views

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    The roles of educators have been radically changed. From the sage on the stage to the facilitator and coordinator, teachers have been at the center of a paradigmatic shift that flickers between two instructional environments: student-centered and teacher centered.
Florence Dujardin

Harold Jarche » Role Shift for teachers and learners - 36 views

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    An interesting remapping of of the teacher and learner roles, from hierarchical and 'wirearchical' viewpoints
meghankelly492

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

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

Mid-continent Research for Education and Learning - School Improvement Reform Report on... - 15 views

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    Stupski Fndtn staff + McREL researchers ask 2 questions: (1) How can teachers adapt the principles of effective pedagogy to differentiate instruction and meet the needs of all learners in order to help Our Kids be challened, motivated, and successful? (2) How can teachers create structured, challenging, yet nurturing classroom environments to ensure that Our Kids are engaged and successful learners? KEY FINDINGS: adaptive and differentiated instruction (theory and methodologies) in culturally relevant classroom that allows for student "role fluidity" + teacher skill in finding gaps in knowledge/skills + motivating students through engaging projects and targeted instruction (academically rigorous and nurturing) PLUS fac devt must be supported by and inclusive of school leadership. a Design Collaborative might act on 5 options: (1) Support teachers to better utilize methods and theories of culturally relevant pedagogy and differentiated instruction, (2) Implement a pedagogical program based on the notion of "role fluidity" to give students a central voice in the classroom, (3) Use technology to engage students and enhance pedagogy, (4) Guide teachers in creating academically rigorous and positive classroom learning environments, (5) Implement pedagogical programs based on developing higher order thinking and subject-specific skills. Report by Kerry Englert, Helen Apthorp, Matthew Seebaum. Dated Oct 2009
Jeff Andersen

Colleges Using Athletics to Boost Profile - Athletic Business - 1 views

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    For many students, the college experience includes game days watching athletes wearing the school colors take the field or court. But in today's environment of rising costs, soaring student debt and declining enrollment, college and university leaders are sometimes finding they have to explain the need for what has become an "arms race" among athletic departments. The argument might be made that much of the money that is required to keep college athletic teams going comes from ticket sales and outside sources such as alumni contributions. The other side of that coin is that some of the cost is borne by students, even those with no interest in sports. In the case of private institutions, it is up to school officials to decide whether the expense is worthwhile. The public has an obvious and greater role in the determination of the role and funding of sports in state institutions.
Nigel Coutts

Assessment A Powerful messaging system - The Learner's Way - 61 views

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     The role of assessment has always played its part but it is a role that is changing in the present global climate and understanding this shift is important for educators.
Roland Gesthuizen

The role of Twitter in Personal Learning Networks | ClintLalonde.net - 2 views

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    My Masters thesis (the full title is The Twitter experience : the role of Twitter in the formation and maintenance of personal learning networks) is now public in the DSpace archives at Royal Roads University.
Brianna Crowley

Teacher or Parent: Does One Role Trump the Other? | Parenting on GOOD - 34 views

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    A teacher-parent-blogger advocates for the difficulty and conflicts that arise when occupying roles both in the classroom and at home.
Jeff Bezler

Future of Thinking: Rethinking the Role of the Humanities for a digital Age - 82 views

    • Jeff Bezler
       
      For more Cathy Davidson, see the archives at www.learncentral.org
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    A speech by Cathy Davidson-- including pedagogy and theory -- on the role of the humanities in the digital age and the history of the American educational system.
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    per a classroom 2.0 seminar
Jess Hazlewood

"Where's the Writer" TETYC March 2014 - 43 views

  • “Responders Are Taught, Not Born”
  • We contend that student writers will see greater value in peer response if they develop tools that allow them to participate more actively in the feedback process. With teaching suggestions like those above, writers can learn how to re-flect on their experiences with peer response. They can also learn to identify their needs as writers and how to ask questions that will solicit the feedback they need.
  • We like to limit each mock session to no more than seven minutes of back and forth between respondent and writer.
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  • class suggests that the writer’s question
  • This becomes a teachable moment. When the respondent asks for assistance from the class, this break in the session becomes an opportunity for the class to assist the writer and the respondent. The writer appears stuck, not knowing what to ask. And the respondent appears perplexed, too.
  • we follow Carl Anderson’s suggestion to teach students how to ask questions about their writing through role-playing.
  • dynamic list that students freely update throughout the semester on the class classro
  • organize the questions within categories such as tone, content, evidence-based support, style, and logistics
  • The end result is a robust list of questions for writers to ask of their respondents.
  • in-class discussion about effective and less effective questions for writers
  • raft three to five questions they have about the assignment to ask of their peers as they prepare to write or revise their assignment. When appropriate, we can direct our students to the course text, where there are
  • : pointing, summarizing, and reflecting
  • Students’ comments often point to their struggle to position themselves in peer response.
  • “What would it take for you to be in-vested as writers in peer response?” Students’ typical responses include the following:>“I need to know what to ask.” >“I don’t know what to ask about my writing, except for things like punctua-tion and grammar.”>“Does the person reading my work really know what the assignment is? Bet-ter than I do?”>“I’m not really sure if I’m supposed to talk or ask questions when someone is giving me feedback about my work, so I don’t really do anything. They write stuff on my paper. Sometimes I read it if I can, but I don’t really know what to do with it.”
  • it is important to offer activities to ensure that both respondents and writers are able to articulate a clear purpose of what they are trying to accomplish. These activities, guided by the pedagogies used to prepare writing center consultants
  • devote more attention to the respondent than to the writer, we may unwit-tingly be encouraging writers to be bystanders, rather than active participants, in the response process.
  • , “Feedback: What Works for You and How Do You Get It?”
  • highlight the value of both giving and getting feedback:In 56 pages near the end of this book, we’ve explained all the good methods we know for getting feedback from classmates on your writing. . . . The ability to give responses to your classmates’ writing and to get their responses to your own writing may be the most important thing you learn from this book. (B
  • we question whether textbooks provide emergent writers with enough tools or explicit models to engage actively in peer response conversations.
  • While such questions are helpful to emerging writers, who depend on modeling, they lack explanation about what makes them “helpful” questions. As a result, emerging writers may perceive them as a prescriptive set of questions that must be answered (or worse, a set of questions to be “given over” to a respondent), rather than what they are intended to be: questions that could advance the writer’s thoughts and agenda.
  • this information is limited to the instructor’s manual
  • llustrates the difference be-tween vague and helpful questions, pointing out that helpful questions
  • You will need to train students to ask good questions, which will help reviewers target their attention.Questions like “How can I make this draft better?” “What grade do you think this will get?” and “What did you think?” are not helpful, as they are vague and don’t reflect anything about the writer’s own thoughts. Questions like “Am I getting off topic in the introduction when I talk about walking my sister to the corner on her first day of school?” or “Does my tone on page 3 seem harsh? I’m trying to be fair to the people who disagree with the decision I’m describing” help readers understand the writer’s purpose and will set up good conversations. (Harrington 14, emphasis added
  • uestions” when soliciting feedback (like the advice we found in many textbooks), she also provides explicit examples for doing so
  • he most explicit advice for writers about ask-ing questions and, in effect, setting up good conversations is buried in an instruc-tor’s manual for The Allyn & Bacon Guide to Writing. In thi
  • “Getting Response” chapter later in the book, they will benefit from the textbook authors’ instructions that they should in fact use questions that will help them solicit their feedback
  • dependent on what parts of the textbook they choose to read
  • point writers to a specific set of questions that they should ask of their respondents. Such instructions take a notable step toward shifting the locus of control from the respondent to helping writers engage their peers in conversation.
  • there is no mention that writers might use them for purposes of soliciting feedback.
  • we see an opportunity for modeling that is not fully realized.
  • we argue that Faigley offers respondents specific examples that empower them to actively engage the process and give feedback. We contend that emergent writers need a similar level of instruction if they are to be agents in response.
  • textbook authors offer few examples for how to get specific feedback
  • Peter Elbow and Pat Belanoff ’s first edition of A Community of Writers published in 1995, in which eleven “Sharing and Responding” techniques, d
  • we worked to understand how textbooks highlight the writer’s role in peer response.
  • We wanted to know what books tell writers about asking questions
  • lthough we do not discount the importance of teaching respondents how to give feedback, we argue that writers must also be taught how to request the feedback they desire.
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    Writer's role in soliciting feedback during peer edit. Suggestions for modeling and training.
Martin Burrett

Connecting, Imagining And Empathising Through "Writing In-Role" by @NBentleyTweets - 5 views

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    "In a world where political divisions seem more entrenched than ever, and a school system which has yet to crack the problem of bullying, an opportunity to engage young people with different voices, narratives and ideas seems urgently necessary. I would suggest that the strategy of "writing in-role" holds the potential to do just this. "
Nigel Coutts

Culture, Change and the Individual - The Learner's Way - 17 views

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    A recent post by George Couros (author of The innovators Mindset) posed an interesting question about the role that culture plays in shaping the trajectory of an organisation. The traditional wisdom is that culture trumps all but George points to the role that individuals play in shaping and changing culture itself. Is culture perhaps less resilient than we are led to imagine and is it just a consequence of the individuals with the greatest influence? Or, is something else at play here?
Nigel Coutts

Educational Disadvantage - Socio-economic Status & Education Pt 1 - The Learner's Way - 3 views

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    The role that education plays in issues of social equity and justice cannot be undervalued. It is acknowledged by the United Nations as a human right, 'Everyone has the right to education' (United Nations, 1948) and as outlined in the Melbourne Declaration on the Educational Goals for Young Australians 'As a nation Australia values the central role of education in building a democratic, equitable and just society- a society that is prosperous, cohesive and culturally diverse, and that values Australia's Indigenous cultures as a key part of the nation's history, present and future.' (Barr et al, 2008). Such lofty assertions of the importance of education as a right and national value should be sufficient to ensure that all Australians have access to an education of the highest standard with equitable outcomes for all, the reality is that this is not the case.
Nigel Coutts

Understanding the true nature of science - The Learner's Way - 21 views

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    As thousands take to the streets as part of a global 'March for Science' it is worth considering the significant role that education has to play. What are the messages we need to send our students about science and what role have schools played in creating the current climate? Now seems like the time to pause and reflect on the place of science in our community and our schools.
Brandie Hayes

What are questions? by Jason Fried of 37signals - 43 views

  • “Questions are places in your mind where answers fit. If you haven’t asked the question, the answer has nowhere to go. It hits your mind and bounces right off. You have to ask the question – you have to want to know – in order to open up the space for the answer to fit.”
  • “Questions are places in your mind where answers fit. If you haven’t asked the question, the answer has nowhere to go. It hits your mind and bounces right off. You have to ask the question – you have to want to know – in order to open up the space for the answer to fit.”
    • Eric Nentrup
       
      I really like this acknowledgement of the role questions play in our cognitive process. They aren't just the knowledge equivalent of a meal ticket...they're our dinner date!
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  • Questions are your mind’s receptors for answers. If you aren’t curious enough to want to know why, to want to ask questions, then you’re not making the room in your mind for answers. If you stop asking questions, your mind can’t grow.
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    Interesting statement about the role of questionging in acquiring new infomation. Your mind has to ask the question in order for your brain to have a place to hold onto the information.....interesting perspective. 
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    I frequently say a similar thing when I talk about having students share their questions after a first reading. Their questions are such a great diagnostic of what they are ready to learn! Having students ask and answer their own questions not only gives them the info. they need now, but teaches them to be self-directed learners for a lifetime.
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