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Sharin Tebo

A veteran teacher turned coach shadows 2 students for 2 days - a sobering lesson learne... - 56 views

grantwiggins.wordpress.com/...days-a-sobering-lesson-learned

shared by Sharin Tebo on 19 Nov 14 - No Cached
  • But students move almost never. And never is exhausting.
    • Sharin Tebo
      Sharin Tebo on 19 Nov 14
       
      This was no different in my experience. There was not one class where I was asked to move to work with someone else. However, there was opportunity for engagement with others, where the teacher let the students do the talking and the working. 
  • sitting passively.
    • Sharin Tebo
      Sharin Tebo on 19 Nov 14
       
      Passive engagement is how I would describe most students to 'sat and got' while the teacher spoke. However, this was not the case in 100% of classes I shadowed/participated in.
  • build in a hands-on, move-around activity into every single class day. Yes, we would sacrifice some content to do this – that’s fine.
    • Sharin Tebo
      Sharin Tebo on 19 Nov 14
       
      We typically do this in a language learning class, so it was tiresome for me to not have the opportunity to move around and engage with others. 
  • ...6 more annotations...
  • High School students are sitting passively and listening during approximately 90% of their classes.
  • It was not just the sitting that was draining but that so much of the day was spent absorbing information but not often grappling with it.
    • Sharin Tebo
      Sharin Tebo on 19 Nov 14
       
      This was not true for all my classes today when I shadowed. The teacher in one class served as a model to annotate an article while we did the same. We were left to our own devices to write the main idea in 2-3 sentences, too. We also had to sum up our learning by analyzing topics in some pretty tough questions in Physics, and the final question was to put it all together and list a real-world example. I thought this was clever.
    • deniseahlquist
      deniseahlquist on 20 Nov 14
       
      Early in my career, I also was asked to shadow students (when we were choosing schools for a funded project) and it was definitely one of the most eye-opening experiences I've had. I could not believe how resentful and angry I felt at the end of the day and I think of myself as someone who just loves to learn, but I did so little of it in most of the classes. After the experience, I was no longer surprised that students struggle to stay focused, and I redoubled my efforts to help support teaching and learning experiences that actively engage learners in building understanding. Highly recommend this experience for any teacher, coach or administrator.
  • If I could go back and change my classes now, I would immediately: Offer brief, blitzkrieg-like mini-lessons with engaging, assessment-for-learning-type activities
  • set an egg timer every time I get up to talk and all eyes are on me. When the timer goes off, I am done.
  • Ask every class to start with students’ Essential Questions or just general questions born of confusion from the previous night’s reading or the previous class’s discussion.
    • Sharin Tebo
      Sharin Tebo on 19 Nov 14
       
      This was listed on the board in one class, but it was not discussed. 
  • Teachers work hard
    • Sharin Tebo
      Sharin Tebo on 19 Nov 14
       
      Yes, they do work hard, but is it productive and best for student learning to be doing everything while students are passive? Why not make the kids do the heavy lifting so it is best for them?
Sharin Tebo

Teaching Metacognition - 78 views

serc.carleton.edu/...teaching_metacognition.html

shared by Sharin Tebo on 23 Jul 14 - Cached
  • Step 1: Teach students that the ability to learn is not a fixed quantity The key to a student's ability to become a self-regulated (i.e., metacognitive) learner is understanding that one's ability to learn is a skill that develops over time rather than a fixed trait, inherited at birth.
    • Sharin Tebo
      Sharin Tebo on 28 Jul 14
       
      Carol Dweck's book on having a Growth Mindset comes to mind here...
  • Step 2: Teach students how to set goals and plan to meet them
  • Step 3: Give students opportunities to practice self-monitoring and adapting Accurate self-monitoring is quite difficult.
  • ...5 more annotations...
  • In particular, students are encouraged to think about the key points of the lecture as they listen and take notes. At the end of the lecture, students write what they think the three most important ideas of the lecture were on an index card.
  • Example: lecture wrappers
  • Teaching Self-Monitoring Strategies Monitoring and adapting strategies can be taught as learning habits. A wrapper is one tool for teaching self-monitoring behavior. A wrapper is an activity that surrounds an existing assignment or activity and encourages metacognition. For example, wrappers can be used with lectures, homework assignments, or exams. Wrappers require just a few extra minutes of time, but can have a big impact.
  • Example: homework wrappers Before beginning a homework assignment, students answer a brief set of self-assessment questions focusing on skills they should be monitoring. Students complete the homework as usual, and then answer a follow-up set of self-assessment questions.
  • Example: exam wrappers When graded exams are returned (as soon as possible after the exam was given), students complete an exam reflection sheet. They describe their study strategies, analyze the mistakes they made, and plan their study strategies for the next exam.
  • Roland Gesthuizen on 23 Jul 14
     
    "Metacognition is a critically important, yet often overlooked component of learning. Effective learning involves planning and goal-setting, monitoring one's progress, and adapting as needed. All of these activities are metacognitive in nature. By teaching students these skills - all of which can be learned - we can improve student learning. There are three critical steps to teaching metacognition:"
  • traceynangle on 27 Jul 14
     
    Really useful reminder of how we need to address very basic ideas about how to absorb new information and ask students to self-monitor and push themselves. I appreciated the information and plan to incorporate the wrappers!
Maureen Greenbaum

Search Education - Google - 42 views

www.google.com/...index.html

search searching google Lessons

shared by Maureen Greenbaum on 06 May 12 - No Cached
  • Trevor Cunningham on 06 May 12
     
    Providing lessons for educating students on search techniques.
  • ...1 more comment...
  • Michele Brown on 05 Jun 12
     
    Help yourself and your students to become skilled searchers.
  • Brianna Crowley on 19 Feb 13
     
    Google has some fantastic lessons, activities, and resources to help students become efficient and proficient researchers. 
  • Maureen Greenbaum on 26 Jul 13
     
    "Help your students become better searchers " Lesson Plans & Activities: Download lesson plans to develop your students' search literacy skills. Browse lesson plans Power Searching: Improve your search skills and learn advanced tips with online lessons and activities. A Google a Day Challenges: Put your students' search skills to the test with these trivia challenges. Browse challenges Live Trainings:Join us for live search trainings or watch past trainings from search experts here at Google.
Gregory Louie

Curriki - TerrariumsandVivariums - 1 views

www.curriki.org/...TerrariumsandVivariums

Education Curriculum SciEd Ecology

shared by Gregory Louie on 13 Sep 09 - Cached
  • Gregory Louie on 13 Sep 09
     
    In this comprehensive five to ten week unit, late elementary students (grades 5-6) will plan, create and observe three different environments: woodland, desert, and tropical. Each environment provides opportunity for activities studying adaptations of plants and animals, with focused activities on the earthworm and isopod. Humane treatment of organisms is stressed. This resource includes correlations with NY state standards. Each "kit" in the Curriki repository includes a teacher's manual and student activity book. The teacher's manual includes a unit overview, scheduling information, extensive and clear background information materials, preparation instructions, discussion questions, an assessment, cross-curricular extension ideas, a glossary and teacher references. Each student manual includes clear, reproducible student handouts and a glossary. The last section in the "kit" is a wiki, and Curriki members are encouraged to edit and build up the existing curriculum. It may take some time initially to organize and order all the necessary supplies, but these written materials are excellent and can be used immediately in the classroom.
serausch

Interactive Learning and Reading Activities for Students in Grades PreK-12 | Scholastic... - 26 views

www.scholastic.com/...student-activities

Interactive Reading

shared by serausch on 06 Sep 16 - No Cached
  • Story StartersGrades: PreK–K, 1–2, 3–5, 6–8This interactive tool creates quick writing prompts to help young students delve into creative writing.
  • Immigration: Stories of Yesterday and TodayGrades: PreK–K, 1–2, 3–5, 6–8Take a tour of Ellis Island, explore an interactive immigration timeline, and meet young immigrants in this online activity!
  • Science ExplorationsGrades: 3–5, 6–8, 9–12With the help of audio, text, photos, and video, students thoroughly explore six science topics, from the Galapagos Islands to giant squid.Read more >
  • qmbneddo on 06 Sep 16
     
    The Science Explorations link doesn't work.
Kurt Schmidt

A Perfect Storm in Undergraduate Education, Part 2 - Advice - The Chronicle of Higher E... - 43 views

chronicle.com/...126969

shared by Kurt Schmidt on 04 Apr 11 - No Cached
  • But, in the past few generations, the imagery and rhetoric of academic marketing have cultivated a belief that college will be, if not decadent, at least primarily recreational: social activities, sporting events, and travel.
  • Increasingly, students are buying an "experience" instead of earning an education, and, in the competition to attract customers, that's what's colleges are selling.
  • a growing percentage of students are arriving at college without ever having written a research paper, read a novel, or taken an essay examination. And those students do not perceive that they have missed something in their education; after all, they have top grades. In that context, the demands of professors for different kinds of work can seem bewildering and unreasonable, and students naturally gravitate to courses with more-familiar expectations.
  • ...7 more annotations...
  • Students increasingly are pressured to go to college not because they want to learn (much less become prepared for the duties of citizenship), but because they and their parents believe—perhaps rightly—that not going will exclude them from middle-class jobs.
  • At most universities, a student is likely to be unknown to the professor and would expect to feel like a nuisance, a distraction from more important work.
  • As academic expectations have decreased, social programming and extracurricular activities have expanded to fill more than the available time. That is particularly the case for residential students, for whom the possibility of social isolation is a source of great anxiety.
  • College has become unaffordable for most people without substantial loans; essentially they are mortgaging their future in the expectation of greater earnings. In order to reduce borrowing, more and more students leave class early or arrive late or neglect assignments, because they are working to provide money for tuition or living expenses.
  • As students' anxiety about the future increases, no amount of special pleading for general-education courses on history, literature, or philosophy—really anything that is not obviously job-related—will convince most students that they should take those courses seriously.
  • But at the major universities, most professors are too busy to care about individual students, and it is easy to become lost amid a sea of equally disenchanted undergraduates looking for some kind of purpose—and not finding it.
  • we need to make "rigorous and high-quality educational experiences a moral imperative."
  • D. S. Koelling on 04 Apr 11
     
    ". . . we need to make 'rigorous and high-quality educational experiences a moral imperative.'"
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."
Jess Hazlewood

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

DIIGO_FILE_HOME/1dj8a/b5ju

shared by Jess Hazlewood on 03 Sep 14 - No Cached
  • “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.
  • ...33 more annotations...
  • 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.
  • Jess Hazlewood on 03 Sep 14
     
    Writer's role in soliciting feedback during peer edit. Suggestions for modeling and training.
summitlibrary

What's So Hard about Research? | Guest Blog, Scientific American Blog Network - 77 views

blogs.scientificamerican.com/...whats-so-hard-about-research

shared by summitlibrary on 06 Jun 14 - No Cached
    • anonymous
      anonymous on 06 Jun 14
       
      So many of my middle school students would come and ask, "Is this what you want?"  Then, they would get frustrated when I responded, "Well, what do you think?  Is that the best answer you can come up with for the question?"  
  • Many students were very uncomfortable with the idea that they would be making the decision about what form their project will take, and continually tried to get a stamp of approval.
  • Students today are accustomed to instant gratification, and therefore can be overwhelmed by tasks that require time-consuming research.
  • ...6 more annotations...
    • anonymous
      anonymous on 06 Jun 14
       
      I'm finding that I am becoming more like the students and wanting that instant gratification as well!  We are becoming scanners more than readers.
  • They do not stop researching and begin another activity because they got distracted;  in our experience, they are more likely to spin themselves in circles making no progress for an entire class period because they do not want to go through a cognitive process that will take “forever.”
  • · When students are given a research prompt by their teacher, students often do not care enough about the topic to really persevere.
    • anonymous
      anonymous on 06 Jun 14
       
      Use this strategy to help students become more invested: STRATEGY: I'm going to show you 30 seconds of this video and I want you to write down 3-4 questions you think this video is going to answer. Turn and talk to a neighbor to share your questions. After looking at the video clip, have students determine if their questions were answered and what questions they still need to answer. THEN, students are invested and have things they WANT to know about the topic.
  • There are very few things in life that our students have to wait for today
    • anonymous
      anonymous on 13 Jun 14
       
      I am sad to say that I am just as bad as the students in that I want to know things immediately and not have to wait.
  • anonymous on 06 Jun 14
     
    NetTrekker PD article for discussion
csandovaldurazo

Using Diigo in the Classroom - Student Learning with Diigo - 66 views

sites.google.com/...using-diigo-in-the-classroom-2

education diigo tools

shared by csandovaldurazo on 06 Feb 12 - Cached
  • Save important websites and access them on any computer. Categorize websites by titles, notes, keyword tags, lists and groups. Search through bookmarks to quickly find desired information. Save a screenshot of a website and see how it has changed over time. Annotate websites with highlighting or virtual "sticky notes." View any annotations made by others on any website visited. Share websites with g
  • Extended Learning
  • Bookmark Lists
  • ...4 more annotations...
  • Personal Student Bookmarks
  • Diigo can provide a way to enrich or extend learning about a topic.
  • Beyond extended student learning, Diigo can be used as a form of professional development.
  • Research  Teaching students to research is a common standard across all grade levels, elementary, middle school, high school, and beyond. Diigo excels as a research tool: Students can save relevant websites to lists in their Diigo student accounts. Each saved bookmark captures the URL and a screenshot, and can be searched later. Students can highlight important information right on the website, using Diigo. Later, when students return to the website, they find the reason they saved the bookmark in the first place. Students can use virtual sticky notes to summarize the important points of information from the website. This activity will mimic the time-tested procedure of using note cards to summarize and organize research projects. Students working on similar topics can create and join groups in order to collaborate. Later, when students need to document their sources, Diigo can be used to recall website URLs for citing sources.
    • mdause
      mdause on 28 Mar 17
       
      How in the WORLD do I do the social part of it?? This seems useful, but I'm still trying to figure out how to let the kids collaborate on Outliners and then share the Outliners with me easily. I bet there's something huge that I'm missing here...
anonymous

Taylor & Francis Online :: Supervision and scholarly writing: writing to learn-learning... - 0 views

www.tandfonline.com/...14623940500300491

shared by anonymous on 12 Nov 12 - No Cached
  • students’ difficulties with the academic genre should be considered to be the norm, rather than the exception.
    • anonymous
      anonymous on 12 Nov 12
       
      Step away from problematising writing and toward it being normal to seek help
  • mechanical errors r
  • errors in the microstructure of writing
  • ...77 more annotations...
  • inconsistencies in writin
  • macrostructure of writing
  • quality and clarity of purpose
  • substantive general writing errors
  • publication, authorship, training and fairness
  • plagiarism
  • formal writing courses and reading lists, writing activities, and peer writing groups
  • Ideally, the supervisor provides a writing role mode
  • fallacious to assume that supervisors are necessarily scholarly writers
    • anonymous
      anonymous on 12 Nov 12
       
      relying on spvrs to be writing mentors does not always work, may have own issues with writing/lack of confidence
  • apprenticeship model can be ineffective
  • a passive role in improving their writing
  • tudents and supervisors need to master a range of writing task
  • benefit of naming what will be attended to and framing its context accrues through the process of planning, action and reflection
  • implicit contractual relationship between my students and me
  • supervisor
  • provide feedback
  • conceptu
  • methodological
  • I conceived postgraduate students’ writing as similar to that of an academic co‐author.
    • anonymous
      anonymous on 12 Nov 12
       
      assumed they were more developed as writers than they actually were
  • initially corrected all errors
  • ttle emphasis to these errors in subsequent interactions
  • explored whether these were careless errors or whether the students had difficulty with particular aspects of writin
  • students assumed some responsibility for proofreading
  • cholarly writing in a thesis involves much more than a set of discrete writing tasks
  • heightened awareness of individual differences in students as writers
  • dependent writer
  • ‘writer’s block’ that could be overcome by breaking writing down into subtasks
  • copious notes
  • detailed note‐taking limited her interaction
  • brief summary of the key points on my written response to her drafts
  • action plan
  • writing block initially posed a major ethical dilemma for me because the ethical guidelines of authorship restrict the writing that should be undertaken by a superviso
  • not writing per se that underpinned Denise’s writing block but a lack of knowledge about the content and organization of a particular writing task.
    • anonymous
      anonymous on 12 Nov 12
       
      Writers block can come from lack of knowledge/confidence in the writing process, rather than lack of subject knowledge
  • confident writer
  • published during his doctoral studies
  • nadvertently engaged in unethical writing behaviour by including me as a co‐author without my permission
  • difficulties with all aspects of the macrostructur
  • epeat sections of writing from earlier chapters
  • replace repeated text with concise summaries or use cross‐referencing
  • tendency to rush through corrections, which often resulted in many issues identified on a previous draft remaining unresolved
  • writing was often submitted and returned electronically using the ‘comments’ and ‘track changes’ tools in Microsoft Word.
    • anonymous
      anonymous on 12 Nov 12
       
      use of technology to produce tracked drafts/version control
  • resistant writer
  • acknowledged herself to be a poor write
  • writing supp
  • oral and written feedback
  • email guidance, sessions where writing was modeled and her writing scaffolded, and handouts on writing style.
  • specialist assistance
  • r lack of commitment to improving the quality of subsequent drafts
  • argumentative stance towards writing feedback
  • my colleague and I decided that we were no longer prepared to supervise Rita.
  • imited writing progress
  • , Rita had failed to adequately demonstrate her writing capability as a doctoral candidat
  • sporadic writer
  • repeatedly failed to meet negotiated deadlines
  • supervisor, it was difficult to maintain interest in and respond to Sherry’s work because of the time lag between each piece of writing
  • enlisted an experienced supervisor to act as my mentor
  • forewarned
  • Sherry’s approach to writing was likely to result in a lengthy completion time and she needed to accept the responsibility for managing her writing tasks.
  • emotional excitement of writing up a thesis and the ensuing motivation
  • lacked
  • This trail of documentation
  • importance of
  • highlighted student‐centred writing issues
  • dentified broader issues that also needed to be accommodated in supervision
  • confidence in writing does not necessarily equate with capability.
  • uture directions
  • upport students
  • ncouraging them to participate in activities designed to support scholarly writing,
  • community of support for each othe
    • anonymous
      anonymous on 12 Nov 12
       
      rationale for peer support groups
  • Technology
  • virtual community of student writers
  • Ethical writing
  • cant attention in postgraduate training to ethical practices in writing
  • explore the ethical standards that are in operation in our local academic community.
  • underpinned by a performance‐orientation
  • ssues of concern related to students’ scholarly writing were identified.
  • eper understanding of the breadth of issues related to the supervision of postgraduate writing
Florence Dujardin

Burns - 37 views

www.aldinhe.ac.uk/...index.php

genre note-taking HE meaning-making

shared by Florence Dujardin on 24 Mar 10 - Cached
  • Florence Dujardin on 24 Mar 10
     
    This paper explores the role that notemaking strategies can play as part of an emancipatory pedagogy designed to empower students. We will argue that being taught active notemaking is fundamental in enabling students to use information with confidence and thus that notemaking allows students to gain a voice (Bowl, 2005; Burns et al., 2006) within their own education. Rather than taking a psychological approach to notemaking, we suggest that notemaking allows students to take ownership of ideas and concepts in powerful ways (Gibbs, 1994 cited Burns and Sinfield, 2004), ways that reinforce understanding and build knowledge. These processes and practices can essentially help students to learn what they want to learn - and, pragmatically, to write essays that are adequately researched and correctly referenced (Burns and Sinfield, 2004). The final focus will be on the collaborative development of NoteMaker, a Reusable Learning Object (RLO) designed for use across the university - and across the sector.
rief61

MB004/MB004: The Basics of Educational Podcasting: Enhancing the Student Learning Exper... - 5 views

edis.ifas.ufl.edu/mb004

Podcasting

shared by rief61 on 19 Jul 11 - No Cached
  • Although there are numerous professional podcasting software packages currently available ($100 - $1000+), beginning podcasters may want to start with a freeware program. One of the most widely used free podcasting software programs is Audacity (http://audacity.sourceforge.net/), an open source sound recording and editing program with versions available for PC, Mac, and Linux operating systems. For Mac users another free podcasting program is GarageBand, found within the iLife package that comes with all new Mac OS X computers. Although older versions of GarageBand do not have the podcasting function, upgrades to the new, podcasting-ready GarageBand 4.1 are available in the iLife08 package for $90 (educational discounts available; http://www.apple.com/ilife/garageband/). For specific instructions on using GarageBand, an online video tutorial is available from Apple at http://www.apple.com/ilife/garageband/.
    • rief61
      rief61 on 19 Jul 11
       
      Software
  • Really Simple Syndication (RSS) feed
  • However, if the objective, for example, is to create a database of reusable lecture materials, then synchronizing the slides with the audio portion of the lecture and adding special effects (e.g., sound, video) may be required and will likely take at least as long as the lecture itself.
  • ...3 more annotations...
  • For educators, podcasting offers an opportunity to bridge the traditional classroom setting with progressive state-of-the-art technologies. There are several advantages of bringing podcasting into the classroom for lectures and student assignments. First, podcasting is an exciting and novel means for students to take a more active role in their own learning experience. As students realize their podcast assignments may be published online with potentially hundreds of listeners through free podcast directories, their attention to the quality and detail of their assignments may improve. Second, podcasting is adaptable to the students' learning needs. Students can access the material whenever and as often as they would like, thereby reinforcing critical concepts or details they may have missed in the original classroom lecture. Finally, assignments that require students to generate, edit, and publish their own podcasts reinforce critical communication skills such as writing text that will be orally presented online or in a classroom.
    • rief61
      rief61 on 19 Jul 11
       
      1. Studetns take more active role in learning experience. 2. Adaptable to student's learning needs. 3. Develop communication skills.
  • These results clearly show students' perceptions of podcasting in the classroom dramatically improved after using this technology
  • Although podcasting was popular amongst most of the students, there was one student who opposed podcasting in the class
    • rief61
      rief61 on 19 Jul 11
       
      Interesting. I wonder why.
taconi12

Fractions- Ideas for Teaching, Resources for Lesson Plans, and Activities for Unit Plan... - 3 views

www.proteacher.org/...208_Fractions.html

math fractions reference lessonplans games

shared by taconi12 on 10 Mar 12 - Cached
  • raction Hunt Posted by:lismac #130700 Please Signin We walked around the school in small groups armed with cameras and looked for fractions occuring in our school. Each child had to find one scene to capture with the camera. Another group stayed in the classroom and created their fractions with classroom materials. Example- 10 pencils. 9 were yellow and one was red. Then the small groups would come to our computer and insert their picture. Each child then inserted text boxes to type in the fractions. Example- 9/10 of the pencils are yellow. 1/10 of the pencils are red. 9/10 + 1/10= 10/10 They could choose the fonts and colors and such... they used word art to add their names. They loved it! We also do one using multiplication.
  • Fraction Hunt Posted by:lismac #130700 Please Signin We walked around the school in small groups armed with cameras and looked for fractions occuring in our school. Each child had to find one scene to capture with the camera. Another group stayed in the classroom and created their fractions with classroom materials. Example- 10 pencils. 9 were yellow and one was red. Then the small groups would come to our computer and insert their picture. Each child then inserted text boxes to type in the fractions. Example- 9/10 of the pencils are yellow. 1/10 of the pencils are red. 9/10 + 1/10= 10/10 They could choose the fonts and colors and such... they used word art to add their names. They loved it! We also do one using multiplication.
  • One activity that went over pretty well with my class was putting fractions in order. After completing a lesson on comparing fractions, each student was given a fraction on a 3x5 card and asked to tape it to their chest. Then they were instructed to line up in order from greatest to least. After they had completed the task, after much deliberation, I informed them of the correct order. They did pretty well considering there were fifteen students.
  • ...5 more annotations...
  • Another thing I did was draw fractions number lines (about seven inches long) on a piece of paper, one under another with enough space between lines so my students could label the points. The first line was not divided. The points were labeled 0 and 1. The second line was divided into halves. The students labeled the points on the line 0/2, 1/2, and 2/2. The third line was divided into thirds. The students labeled the points 0/3, 1/3, 2/3, 3/3. You probably get the idea. The remaining lines were divided into fourths, fifths, sixths, eighths, tenths, and twelfths, and the points were labeled. (It is very...
  • I created an interactive fraction number line from 0 to 2 on my wall. I have about 40 fraction cards with different fractions and I have students take turns putting the cards on the number line. They get the chance to see that some of the fractions are equivelent to others.
  • Well, you are not alone. Fractions lessons sometimes need repeating over and over until they understand the CONCEPTS. Try giving them a mnemonic device to help them remember what to do. My kids decided to use GCF as Greatest Calories n Fat so that's why you REDUCE!! This just helped them to know when to use the GCF but it still needs lots of practice. Also, do a lot of hands-on activities that show equivalency in fractions. Make fraction strips using construction paper, and the kids can show all the equivalent fractions by matching up the strips. Or try the pizza fraction pieces that you can buy. I believe that it just takes lots of fun practice as well as drills on the procedures. Take your time and don't rush through it or you'll be sorry to see that they won't remember any of it by Christmas!!
  • Make up index cards before hand. Group them in 3's (.25 on one card, 1/4 on another, 25% on the third) make up however many sets of three you need to give a card to each of the students in your class. Once the cards have been shuffled, pass one to each student. Have them find their 'family' WITHOUT MAKING A SOUND. When .20, 1/5 and 20% find each other they have to put their cards on a large number line in the front of the class. It's a great way to get them all involved, and gets them up and around the classroom.
  • I also have my student play Fraction Tic Tac Toe, on a 4 x 4 grid filled with halves, fourths, and eighths. They have to make a whole with 3 fractions in a row. They love it!!! I'm not sure where the gamesheet come from, but I am sure you can make your own.
Gloria Maristany

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

newideas.net/p0000570.htm

ADHD

shared by Gloria Maristany on 15 Jul 11 - Cached
  • 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
  • ...19 more annotations...
  • 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.
  • Gloria Maristany on 15 Jul 11
     
    Very specific tips for classroom
Misha Miller

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

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

collaboration groups pedagogy

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

Study shows students in 'active learning' classrooms learn more than they think - 18 views

ukedchat.com/...active-learning

active learning research

shared by Martin Burrett on 07 Sep 19 - No Cached
  • Martin Burrett on 07 Sep 19
     
    "For decades, there has been evidence that classroom techniques designed to get students to participate in the learning process produces better educational outcomes at virtually all levels. And a new Harvard study suggests it may be important to let students know it. The study, published Sept. 4 in the Proceedings of the National Academy of Sciences, shows that, though students felt as if they learned more through traditional lectures, they actually learned more when taking part in classrooms that employed so-called active-learning strategies."
Mary Beth Messner

5 Fantastic Ways to Use Wallwisher in the Classroom - SimpleK12 - 138 views

blog.simplek12.com/...se-wallwisher-in-the-classroom

Wallwisher Student Engagement Web 2.0 Speeches Writing Tools Brainstorming Announcements

shared by Mary Beth Messner on 27 Aug 10 - Cached
  • 5 fantastic ways to use Wallwisher in the classroom: Writing activities – Wallwisher has a 160 character limit for each comment/post that you leave on the wall. Which is, in a way, a good thing! It allows for short story/collaborative projects, essay plans, note-taking, memos, poems, etc… the writing possibilities are endless! Brainstorming activities – This is a great ice breaker for the beginning of class! And better yet, it’s a great way to post a homework assignment/food for thought for that evening and then discuss it the next day. Vocabulary/Grammar Activities – You could easily use Wallwisher for practicing tenses, definitions, vocabulary matching (you can even use audio or video!), or even find a theme and have the students fill the sticky notes with their ideas for the vocabulary theme! Speaking activities – I was never one to love speaking in front of people so Wallwisher is a great way to create short speaking activities to help students feel more comfortable in front of a group of people. These activities could be to talk about a photo or video for X minutes, create a story based upon X number of photos, or even put debate topics on a sticky note for the student to create. Notifications – That is the original thought, right? You could use Wallwisher for orientation information, classroom rules, student profiles, daily/weekly plan, or even fun messages to other students who might be out sick or on trips with their families.
Martin Burrett

Physical activity in lessons improves students' attainment - 8 views

ukedchat.com/...physical-activity-lessons

research PE physical activity

shared by Martin Burrett on 12 Nov 19 - No Cached
  • Martin Burrett on 12 Nov 19
     
    "Students who take part in physical exercises like star jumps or running on the spot during school lessons do better in tests than peers who stick to sedentary learning, according to a UCL-led study. The meta-analysis of 42 studies around the world, published in British Journal of Sports Medicine, aimed to assess the benefits of incorporating physical activity in academic lessons. This approach has been adopted by schools seeking to increase activity levels among students without reducing academic teaching time."
maureen greenbaum

BetaKit » Is Adaptive Learning the Future of Education? - 2 views

betakit.com/...arning-the-future-of-education

shared by maureen greenbaum on 21 May 12 - No Cached
  • adaptive learning will adjust every question based on a student’s previous answer.
  • Knewton is working on having educational content tagged so it can be placed into a “Knowledge Graph.” This system determines what concepts need to be learned before a student can move on to others, and how they all fit together.
  • The company recently parterned with Pearson to tag every textbook under their imprint work with the Knewton Knowledge Graph.
  • ...7 more annotations...
  • ata mining and take various inputs, like test question results, activity on the system, what links students clicked, etc. to make a prediction of the next best piece of content for a student to learn.
  • The technology seems to be working. After a pilot project at Arizona State University with 5,000 remedial math students, pass rates improved from 66 percent to 75 percent, with half the class finishing four weeks early
  • “The professors are much better prepared for a single class so that they can give much more individualized instruction,” Lui said. “The practical effectiveness of this means that teachers are now able to use their time more efficiently to hone in on the things that are most troublesome or useful for different groups of students. You’re not teaching to the mean or bottom quartile.”
  • Analyzing and collecting big data is really what Junyo is about, enabling everyone in the education sector to make the learning experience more personal.
  • The students also have their own dashboard to see recommended content.
  • Teachers don’t have the time to do detailed reporting of a student’s progress and even if they did, they wouldn’t be able to provide one on one tutoring for every single student at different stages of learning.
  • students are learning more outside the classroom than in the classroom, and educators are finally starting to acknowledge that.
  • maureen greenbaum on 21 May 12
     
    "The professors are much better prepared for a single class so that they can give much more individualized instruction," Lui said. "The practical effectiveness of this means that teachers are now able to use their time more efficiently to hone in on the things that are most troublesome or useful for different groups of students. You're not teaching to the mean or bottom quartile."
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