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Ed Webb

Imagining College Without Grades :: Inside Higher Ed :: Higher Education's Source for N... - 0 views

www.insidehighered.com/...grades

education grading

shared by Ed Webb on 28 Jan 09 - Cached
  • A professor who tells his students that “grades are the death of composition.” Another said: “Grades create a facade of coherence.”
    • Dana Huff
      Dana Huff on 28 Jan 09
       
      Interesting. I agree. I wish that we didn't have to grade student writing and could just give written or oral feedback. I love the "facade of coherence" comment.
  • politically impossible
    • Dana Huff
      Dana Huff on 28 Jan 09
       
      Key words. Grading is political.
  • grades were squelching intellectual curiosity.
    • Dana Huff
      Dana Huff on 28 Jan 09
       
      Totally true in more places than prestigious law schools
  • ...9 more annotations...
  • growing use of e-portfolios
    • Dana Huff
      Dana Huff on 28 Jan 09
       
      I like portfolios for demonstrating learning, but I haven't learned how to effectively integrate them into my own classroom.
  • most professors and students are much more likely to complain about grading than to praise its accuracy or value.
    • Dana Huff
      Dana Huff on 28 Jan 09
       
      Amen!
  • Done right, she said, eliminating grades promotes rigor.
  • the elimination of grades — if they are replaced with narrative evaluations, rubrics, and clear learning goals — results in more accountability and better ways for a colleges to measure the success not only of students but of its academic programs.
    • Ed Webb
      Ed Webb on 28 Jan 09
       
      This strikes me intuitively as correct. Grades are a substitute for thoughful assessment of learning outcomes, not an equivalent to it.
  • the idea of consistent and clear grading just doesn’t reflect the mobility of students
    • Ed Webb
      Ed Webb on 28 Jan 09
       
      Absolutely. My own institution, Dickinson College, sends ~70% of its students abroad for at least a semester, and most often a year. I have experience in education in different national contexts, and grading conventions simply do not translate.
  • ending grades can mean much more work for both students and faculty members.
    • Ed Webb
      Ed Webb on 28 Jan 09
       
      Aye, there's the rub. Those of us who are serious about learning - students and faculty - have to recognize that better learning is more work. On the other hand, it's more fun, too.
  • When faculty members are providing written, detailed analyses of multiple course objectives and are also — for majors — relating performance to larger goals for the major, so much more is taking place she said, than in a letter grade.
    • Ed Webb
      Ed Webb on 28 Jan 09
       
      Yes. Grades are a terrible assessment tool.
  • the training that colleges provide to professors before they start producing narrative evaluations, and officials of the no-grades colleges all said that training was extensive, and that faculty members needed mentors as they started out.
    • Ed Webb
      Ed Webb on 28 Jan 09
       
      And how much training do faculty get before they start handing out grades?
  • they end up favoring the evaluation system
    • Ed Webb
      Ed Webb on 28 Jan 09
       
      This is the point. Users have to be educated in the advantages of the system - once they have been, they are likely to favor it over grading.
Ed Webb

More Recent Random Thoughts and Ideas » Blog Archive » International Admissio... - 0 views

maghrebs.ipower.com/random-thoughts

shared by Ed Webb on 06 Sep 09 - Cached
  • The biggest discrepency is between applications and offers to scholars from the Middle East and Turkey.  In 2008/09, applications were up by 22%, but admissions only by 10%.
    • Ed Webb
      Ed Webb on 06 Sep 09
       
      Striking, and concerning.
collettmegan

How Cyclone Yasi compares around the world | Latest news on the Queensland Floods | New... - 21 views

www.news.com.au/...story-fn7ik2te-1225998762870

shared by collettmegan on 02 Feb 11 - No Cached
  • with storms of the past - it's bigger than Larry, more powerful than Tracy.  Hours after landfall, it was still a category three and had been forecast to still be a category one even when it reached Mt Isa, more han
  • Roland Gesthuizen on 02 Feb 11
     
    " IF you're struggling to grasp the magnitude of Tropical Cyclone Yasi, consider this: it is so large it would almost cover the United States, most of Asia and large parts of Europe. "
  • Roland Gesthuizen on 02 Feb 11
     
    Cyclone Yasi is about to strike land in North Queensland as I enter this post on the evening of 2 Feb 2011. This is a good comparison and visualisation that other teachers could use in their classroom to explain to students.
Kevin Jarrett

Proposed Cuts Strike Teachers as Attacks on Their Value to Society - NYTimes.com - 30 views

www.nytimes.com/...03teacher.html

edreform

shared by Kevin Jarrett on 03 Mar 11 - No Cached
  • Kevin Jarrett on 03 Mar 11
     
    "Teachers Wonder, Why the Scorn?"
Greta Oppe

A Vision for 21st Century Learning - 112 views

www.youtube.com/watch

education technology students web2.0 youtube learning culture collaboration

shared by Greta Oppe on 27 Mar 11 - Cached
  • Greta Oppe on 27 Mar 11
     
    TED@Palm Springs presentation on game-based learning; creation of "immersive learning environments." Meyers, A. (2009). A Vision for 21st Century Learning [Video]. Retrieved from http://www.youtube.com/watch?v=Mirxkzkxuf4
  • Ms. Nimz on 31 Mar 11
     
    I disliked this video. Is my classroom extraordinary? The rest of the classrooms in the U.S. have unmoving, silent children stuck in desks all day? The students don't talk to each other? They don't collaborate to solve problems? They don't read? They don't write in order to analyze and express opinions? They don't use math manipulatives, do science experiments, build, draw, and do projects? They don't laugh together, digress, and then get back on track? Because that's what we do. It doesn't strike me as a response to the Industrial Revolution as much as a response to students' curiosity and to their future needs. "If we get it right, kids won't even know they're learning something." So, we're doing it wrong if the kids are actually aware that they're learning? Better they should be metaphorically anesthetized by the computer experience? We don't want them inoculated against feeling the discomfort of struggle. Every respected neuroscientist on the planet says struggle is necessary to wire neurons together, which is the physical manifestation of learning. The simulation of the village looks very cool. I love computers. But if all their learning about ancient Rome is based on this simulation, where are the primary sources? Will students encounter any? Or is their experience of the village based on someone else's interpretation of primary sources? If so, then someone else gets to decide what is important to include in the Roman village. They get to choose and interpret the facts that are used to create the virtual ancient Roman experience. That goes against best practice teaching of the social sciences.
Mary Beth Messner

Creating a Sense of Time in Online Courses | Faculty Focus - 62 views

www.facultyfocus.com/...ense-of-time-in-online-courses

Teaching Tips TeachingOnline Content Time Elearning Updating Discussions

shared by Mary Beth Messner on 25 Apr 11 - No Cached
  • While we all agree that the five-year-old unnarrated PowerPoint is a dangerous and ineffective piece of content in an online course, we would also all agree that we can’t redo each narrated piece of content each semester. How do we strike a balance between creating content that is fresh (more on that in a moment) and being able to reuse content that is valuable?
    • Amy Cohen
      Amy Cohen on 25 Apr 11
       
      Addressing issues in reusing online course content
  • For teachers it makes them participate in the content, revisit the content they created in the past, and make it delivered in a “present” time for the students. For students it tells them that the teacher “was just here,” and that this stuff is happening now. It makes the content seem more relevant, and helps build a sense of community in the course.
  • By creating content that has elements of real time associated with it, instructors can generate a sense of presence and freshness that are often missing in online courses.
  • ...2 more annotations...
  • Lastly, keep the flowers fresh.
  • A sense of time is created in discussion boards because they have only that week to complete the work and there is an understanding that the conversations happen in time. But often asynchronous discussions have wide gaps of time between student interactions. One way to bring time closer to the students is to allow them to subscribe to forum threads they are involved in. You can do this in most LMS solutions. Students get an email alerting them to activity in the thread they are active in and it brings them closer “in real time” to the events happening in the class. While this can be overwhelming in larger courses, in a class of 20 or 30 students it usually does not amount to an unreasonable amount of email notifications. One of the most effective ways to bring timeliness to an online course is do a quick recap of previous week, as well as provide a preview of what is expected for the current week. Using screen capture software to go through the course and set expectations is a great way to not only share a bit of yourself with students, but it is a pre-emptive way to answer questions students commonly ask.
Steve Ransom

Science teachers at Loxahatchee middle school strike back against hands-on labs - 106 views

www.palmbeachpost.com/...1916851.html

science testing handson labs testscores performance

shared by Steve Ransom on 16 Oct 11 - No Cached
  • Steve Ransom on 16 Oct 11
     
    Just plain sad.
Matt Renwick

Education Week: School Leaders: Don't Let Your Teachers Lose Heart - 51 views

www.edweek.org/...27barnoski.h32.html

education school leaders teachers heart plcs

shared by Matt Renwick on 15 Apr 13 - No Cached
  • Survey teachers. In the spring, as you consider programs for the following year (or years), send out a survey to teachers asking them to rate the areas where they need help. Pick your programs accordingly. You won't please everyone, but this is a chance to address your teachers' real concerns.
    • Matt Renwick
      Matt Renwick on 15 Apr 13
       
      I like this idea. It will help set our goals for the next three years.
  • Take something off the table. Teachers are being asked to do more without letting go of something else. Surprise your teachers before school next year and strike a program that was assessed to be ineffective. Your teachers will love you for easing their load.
  • ...1 more annotation...
    • Matt Renwick
      Matt Renwick on 15 Apr 13
       
      What would we take off?
ekbrabant

Here's What We Can Expect From El Niño This Year | TIME - 19 views

time.com/...-expect-from-el-nino-this-year

el nino

shared by ekbrabant on 16 Jun 14 - No Cached
  • forecasters have little ability to predict how intense future El Niño episodes will be. According to the National Oceanic and Atmospheric Administration (NOAA) it is also near impossible to pinpoint the exact dates that El Niño will begin.
    • ekbrabant
      ekbrabant on 16 Jun 14
       
      Some atmospheric phenomena can be predicted and some cannot.
  • Within the next month more details regarding El Niño and when it will begin will become clearer.
    • ekbrabant
      ekbrabant on 16 Jun 14
       
      As more data is collected more patterns may be apparent, and hypotheses can be supported.
  • 90% chance of striking again this year
    • ekbrabant
      ekbrabant on 16 Jun 14
       
      I wonder how scientists have come to this claim...
  • ...5 more annotations...
  • Western Pacific and parts of Australia
  • Australia
  • damages the agricultural industries in countries surrounding the Pacific Ocean such as Indonesia, and the Philippines.
  • The results of the El Niño events in 1997-1998 were by far the worst in recent history,
    • ekbrabant
      ekbrabant on 16 Jun 14
       
      I wonder what happened. I wonder what the effects were.
  • South Asia will likely be hit first with heavy rain and flooding.
    • ekbrabant
      ekbrabant on 16 Jun 14
       
      El Nino seems to cause a lot of problems. I wonder what caused scientists to think that all of these were related to El Nino.
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.
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."
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