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Kari Beery

Tech Savvy Kids - 86 views

  • 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."
Deborah Batzer

The Comic Book Periodic Table of the Elements - 177 views

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    This site contains comic book images linked to the chemical elements via the periodic table. Comics include Uncle $crooge, Metal Men, Metamorpho, Batman, Fantastic Four, Superman, and many more."> The Comic Book Periodic Table of the Elements BODY { color: rgb(0,0,0);} Th
Amy Roediger

Reading Strategies for 'Informational Text' - NYTimes.com - 172 views

  • Four Corners and Anticipation Guides:Both of these techniques “activate schema” by asking students to react in some way to a series of controversial statements about a topic they are about to study. In Four Corners, students move around the room to show their degree of agreement or disagreement with various statements — about, for instance, the health risks of tanning, or the purpose of college, or dystopian teen literature. An anticipation guide does the same thing, though generally students simply react in writing to a list of statements on a handout. In this warm-up to a lesson on some of the controversies currently raging over school reform, students can use the statements we provide in either of these ways.
  • Gallery Walks:A rich way to build background on a topic at the beginning of a unit (or showcase learning at the end), Gallery Walks for this purpose are usually teacher-created collections of images, articles, maps, quotations, graphs and other written and visual texts that can immerse students in information about a broad subject. Students circulate through the gallery, reading, writing and talking about what they see.
  • Graphic Organizers:
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  • Making Text-to-Text/Text-to-Self/Text-to-World connectionsCharting Debatable IssuesListing Facts/Questions/ResponsesIdentifying Cause and EffectSupporting Opinions With FactsTracking The Five W’s and an HIdentifying Multiple Points of ViewIdentifying a Problem and SolutionComparing With a Venn Diagram
  • The One-Pager:Almost any student can find a “way in” with this strategy, which involves reacting to a text by creating one page that shows an illustration, question and quote that sum up some key aspect of what a student learned.
  • “Popcorn Reads”:Invite students to choose significant words, phrases or whole sentences from a text or texts to read aloud in random fashion, without explanation. Though this may sound pointless until you try it, it is an excellent way for students to “hear” some of the high points or themes of a text emerge, and has the added benefit of being an activity any reader can participate in easily.
  • Illustrations:Have students create illustrations for texts they’re reading, either in the margins as they go along, or after they’ve finished. The point of the exercise is not, of course, to create beautiful drawings, but to help them understand and retain the information they learn.
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    Update | Feb. 2012: We'll be exploring the new Common Core State Standards, and how teaching with The Times can address them, through a series of blog posts. You can find them all here, tagged "the NYT and the CCSS."
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    A good list of reading strategies for informational text from the New York Times.
Mrs. Lail2

Success is a Four Letter Word - 37 views

  • it turns out that the one thing present in every successful person is one consistent trait. It’s not a person’s education or lack of it, or their IQ, their upbringing, their financial abundance or lack, their test scores, their birth order or their gender. It’s one odd, rarely mentioned quality: Grit.
  • But grit is more than just an attitude. It’s about the actions we take when faced with doubt and obstacles. In 2006, Drs. Angela Duckworth and Martin Seligman discovered that the correlation between self-discipline and achievement was twice as large as the correlation between IQ and achievement.
  • A clear goal Determination despite others’ doubts Self-confidence about figuring things out Humility about knowing it doesn’t come easy Persistence despite fear Patience to handle the small obstacles that obscure the path A code of ethics to live by Flexibility in the face of roadblocks A capacity for human connection and collaboration A recognition that accepting help does not equate to weakness A focus and appreciation of each step in the journey An appreciation of other people’s grit A loyalty that never sacrifices connections along the way An inner strength that helped propel them to their goal
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  • “… Grit may be as essential as IQ to high achievement. In particular, grit, more than self-control or conscientiousness, may set apart the exceptional individuals who … made maximal use of their abilities.”
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    And that word is grit
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    Interesting article - I need to track down the original research! 
Scott Kinkoph

BYOD: Increase Chances for Success! - 44 views

image

started by Scott Kinkoph on 22 Oct 12 no follow-up yet
Diana Irene Saldana

You Are Your Words - AHD - 18 views

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    The American Heritage® Dictionary invites you to create a self-portrait using your words. The words that tell the world who you are. That make you, you. It's easy to do, whether you decide to link to places like Facebook for words you've already written or write something new specifically for your portrait. Either way, you'll create a unique image that can be shared and saved and will remind everyone that You Are Your Words.
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."
Mark Gleeson

Digital scrapbooks for student creativity, self-expression, and imagination - Beeclip EDU - 207 views

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    This is a beautifully made photo collage and poster maker. Search or upload images, add text, drag items into place and then share. http://ictmagic.wikispaces.com/Photos+%26+Images
Gloria Maristany

More Classroom Tips for Teachers of ADD ADHD Students | ADD ADHD Information Library - 0 views

  • Home › Parenting ADHD Children More Classroom Tips for Teachers of ADD ADHD Students in Parenting ADHD Children ADHD Checklist for Classroom Teachers Physical Arrangement of Room: Use rows for seating arrangements. Avoid tables with groups of students, for this maximizes interpersonal distractions for the ADHD child. Where possible, it may be ideal to provide several tables for group projects and traditional rows for independent work. Some teachers report that arranging desks in a horseshoe shape promotes appropriate discussion while permitting independent work.
  • seated near the teacher, as close as possible without being punitive.
  • away from both the hallway and windows to minimize auditory and visual distractions
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  • portion of the room free of obvious visual and auditory distractions
  • desk dividers
  • as a "privilege"
  • appropriate peer models next to ADHD child. Stand near the student when giving directions or presenting the lesson. Use the student's worksheet as an example.
  • Provide an outline, key concepts or vocabulary prior to lesson presentation.
  • variety of activities during each lesson
  • multisensory presentation
  • lessons brief o
  • involve the student during the lesson presentation.
  • instructional aid who is to write key words or ideas on the board
  • Encourage the students to develop mental images of the concepts or information being presented. Ask them about their images to be sure they are visualizing the key material to be learned. Allow the students to make frequent responses throughout the lesson by using choral responding, frequently calling on many individuals, having the class respond with hand signals. Employ role-playing activities to act out key concepts, historical events, etc.
  • computer assisted instruction
  • self-correcting materials
  • cooperative learning
  • specific role or piece of information that must be shared with the group.
  • game-like activities
  • Use the student's name in your lesson presentation. Write personal notes to the student about key elements of the lesson.
  • Let ADHD students share recently learned concepts with struggling peer
  • use colored chalk to emphasize key words or information.
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    Very specific tips for classroom
Javier E

Money Cuts Both Ways in Education - NYTimes.com - 19 views

  • If you doubt that we live in a winner-take-all economy and that education is the trump card, consider the vast amounts the affluent spend to teach their offspring.
  • This power spending on the children of the economic elite is usually — and rightly — cited as further evidence of the dangers of rising income inequality.
  • But it may be that the less lavishly educated children lower down the income distribution aren’t the only losers. Being groomed for the winner-take-all economy starting in nursery school turns out to exact a toll on the children at the top, too.
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  • There is a lively debate among politicians and professors about whether the economy is becoming more polarized and about the importance of education. Dismissing the value of a college education is one of the more popular clever-sounding contrarian ideas of the moment. And there are still a few die-hards who play down the social significance of rising income inequality.
  • When you translate these abstract arguments into the practical choices we make in our personal lives, however, the intellectual disagreements melt away. We are all spending a lot more money to educate our kids, and the richest have stepped up their spending more than everyone else.
  • spending on children grew over the past four decades and that it became more unequal. “Our findings also show that investment grew more unequal over the study period: parents near the top of the income distribution spent more in real dollars near the end of the 2000s than in the early 1970s, and the gap in spending between rich and poor grew.”
  • But it turns out that the children being primed for that race to the top from preschool onward aren’t in such great shape, either.
  • “What we are finding again and again, in upper-middle-class school districts, is the proportion who are struggling are significantly higher than in normative samples,” she said. “Upper-middle-class kids are an at-risk group.”
  • troubled rich kids. “I was looking for a comparison group for the inner-city kids,” Dr. Luthar told me. “And we happened to find that substance use, depression and anxiety, particularly among the girls, were much higher than among inner-city kids.”
  • “I Can, Therefore I Must: Fragility in the Upper Middle Class,” and it describes a world in which the opportunities, and therefore the demands, for upper-middle-class children are infinite.
  • “It is an endless cycle, starting from kindergarten,” Dr. Luthar said. “The difficulty is that you have these enrichment activities. It is almost as if, if you have the opportunity, you must avail yourself of it. The pressure is enormous.”
  • these parents and children are responding rationally to a hyper-competitive world economy.
  • “When we talk to youngsters now, when they set goals for themselves, they want to match up to at least what their parents have achieved, and that is harder to do.”
  • we live in individualistic democracies whose credo is that anyone can be a winner if she tries. But we are also subject to increasingly fierce winner-take-all forces, which means the winners’ circle is ever smaller, and the value of winning is ever higher.
Maureen Greenbaum

Optimism Bias: Human Brain May Be Hardwired for Hope -- Printout -- TIME - 62 views

  • manipulated positive and negative expectations of students while their brains were scanned and tested their performance on cognitive tasks. To induce expectations of success, she primed college students with words such as smart, intelligent and clever just before asking them to perform a test. To induce expectations of failure, she primed them with words like stupid and ignorant. The students performed better after being primed with an affirmative message. Examining the brain-imaging data, Bengtsson found that the students' brains responded differently to the mistakes they made depending on whether they were primed with the word clever or the word stupid. When the mistake followed positive words, she observed enhanced activity in the anterior medial part of the prefrontal cortex (a region that is involved in self-reflection and recollection). However, when the participants were primed with the word stupid, there was no heightened activity after a wrong answer. It appears that after being primed with the word stupid, the brain expected to do poorly and did not show signs of surprise or conflict when it made an error
Ryan Trauman

English 102 - Orange | Blog | Closing Argument - 22 views

shared by Ryan Trauman on 30 Apr 11 - No Cached
    • Ryan Trauman
       
      Watch the capitalization here in your bibliography. Take a closer look at the mini-tutorial for the bibliography.
  • Jennifer Aubrey
  • Brown and Dittmar
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  • Carney
  • Levine
  • Turner and Hamilton
  • ideal body image
  • It is possible that antecedent body self-perceptions affect whether women select or avoid sexually objectifying media
Matt Renwick

Building A _____ Learning Movement | Getting Smart - 30 views

  • deeper learning–with its emphasis on core academic content, critical thinking & problem-solving, collaboration, effective communication, academic mindsets and self-directed learning
  • getting up from the table where we typically sit and inviting new people to sit at each of our tables
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    mattrenwick.com
m101poe

Teach the Seven Strategies of Highly Effective Readers | Adolescent Literacy Topics A-Z... - 35 views

  • Instructional Aid 1.1: Seven Strategies of Highly Effective Readers
  • Activating "Priming the cognitive pump" in order to recall relevent prior knowledge and experiences from long-term memory in order to extract and construct meaning from text Inferring Bringing together what is spoken (written) in the text, what is unspoken (unwritten) in the text, and what is already known by the reader in order to extract and construct meaning from the text Monitoring-Clarifying Thinking about how and what one is reading, both during and after the act of reading, for purposes of determining if one is comprehending the text combined with the ability to clarify and fix up any mix-ups Questioning Engaging in learning dialogues with text (authors), peers, and teachers through self-questioning, question generation, and question answering Searching-Selecting Searching a variety of sources in order to select appropriate information to answer questions, define words and terms, clarify misunderstandings, solve problems, or gather information Summarizing Restating the meaning of text in one's own words — different words from those used in the original text Visualizing-Organizing
  • Constructing a mental image or graphic organizer for the purpose of extracting and constructing meaning from the text
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