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Marsha Ratzel

Education World ® : Curriculum: You've Got E-Mail -- But Can You Make It Real... - 1 views

education-world.com/...curr165.shtml

shared by Marsha Ratzel on 28 Jul 09 - Cached
  • "Before you begin a telecollaborative project," she said, "Look at the plan critically and decide whether it's worth it in terms of learning outcomes. Ask yourself these questions: Does this use of the Internet allow students to do something that can't be done in another way? Does this use of the Internet allow students to do something in a better way? "If the answer to either of those questions is yes," said Harris, "then your project is probably worth doing." "As teachers, we need to do what is our art and our craft -- which is teaching, not technology."
    • Marsha Ratzel
      Marsha Ratzel on 30 Jul 09
       
      Judi Harris has been this champion for years...she long ago convinced me that you shouldn't use tech just for the sake of using tech. Her statements gives the compelling questions we should all ask ourselves before embarking on the use of precious time. What's your return on investment????
  • An activity structure, according to Harris, is simply a description of what students do in an activity, without reference to content or grade level. For example, kindergarten students mixing paints, elementary students forming compound words, and high-school students creating chemical compounds are all using an activity structure that involves combining existing elements to form new elements. The content and grade level are strikingly different, but the basic activity, the structure of the activity, is the same. Existing activity structures, said Harris, are usually supported best by existing instructional tools. If Internet tools are going to be used to enable students to do something they haven't been able to do, or do as well, before, new activity structures, structures that are best supported by new instructional tools, must be identified and implemented.
  • Develop a project plan that's specific and logistically manageable.
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  • Establish a clear schedule, set interim deadlines, and send out reminders as deadlines approach
  • Be sure students have regular access to computers. Once a week in a computer lab is not enough time. For students to get the most out of a telecomputing project, they must be able to participate at least two or three times a week.
  • Focus on the use of the tools, not on the tools
  • Catherine Curtis on 28 Jul 09
     
    How to use email in the classroom
  • Michèle Drechsler on 06 Aug 09
     
    It is truth
Liz Peters

Twiducate - Social Networking & Media For Schools :: Education 2.0 - 116 views

www.twiducate.com

news resources review tools

shared by Liz Peters on 29 Jan 11 - Cached
  •  Are you a teacher? Sign up now. It's free!   As a teacher you create a network for you and your students. Share inspiration, ideas, readings, thoughts Post discussions, deadlines, homework Embed pictures, links and video Keep parent
    • Adam DeWitt
      Adam DeWitt on 29 Jan 11
       
      test
  • Martin Burrett on 07 Jul 11
     
    Twitter-like website for educators and children to use as a class or school. Embed text, images, videos, links and even Google Docs files. The site has a live chat functure open to just the class. http://ictmagic.wikispaces.com/ICT+&+Web+Tools
  • Liz Peters on 07 Aug 12
     
    What other people are saying: By Jennifer Alman for the Emergent Technologies in a collaborative class at Full Sail University. Features and benefits of using Twiducate for collaboration in an educational setting. Are you a teacher? Sign up now. It's simple and free!twiducate is the perfect solution for elementary and secondary students.
Jac Londe

Scientists make quantum breakthrough - 25 views

www.physorg.com/...ists-quantum-breakthrough.html

science news physics technology research tech education quantum scientists

shared by Jac Londe on 25 Apr 11 - No Cached
  • Scientists have demonstrated for the first time that atoms can be guided in a laser beam and possess the same properties as light guided in an optical communications fiber.
  • Abstract Speckle patterns produced by multiple independent light sources are a manifestation of the coherence of the light field. Second-order correlations exhibited in phenomena such as photon bunching, termed the Hanbury Brown–Twiss effect, are a measure of quantum coherence. Here we observe for the first time atomic speckle produced by atoms transmitted through an optical waveguide, and link this to second-order correlations of the atomic arrival times. We show that multimode matter-wave guiding, which is directly analogous to multimode light guiding in optical fibres, produces a speckled transverse intensity pattern and atom bunching, whereas single-mode guiding of atoms that are output-coupled from a Bose–Einstein condensate yields a smooth intensity profile and a second-order correlation value of unity. Both first- and second-order coherence are important for applications requiring a fully coherent atomic source, such as squeezed-atom interferometry.
  • Australian National University
webExplorations

Adobe Museum of Digital Media - 106 views

www.adobemuseum.com/index.php

video design media

shared by webExplorations on 23 Apr 11 - No Cached
  • webExplorations on 23 Apr 11
     
    A-B-C Atoms (physical) Bits (Virtual) C (craft) Craft? The New Craft: Virtual and Physical blended together. The tools and the media are converging. This site puts you on a high hill giving you a much better viewpoint of the horizon. A new view showing how technology and design are beginning to work together in today's world: A-B-C Enjoy.
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
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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."
Ross Davis

islt9440 - Group 7: Diigo for Education - About diigo.com - 86 views

islt9440.wikispaces.com/About+diigo.com

technology diigo

shared by Ross Davis on 15 Nov 10 - No Cached
  • Diigo highlighting tool allows the teacher or student to highlight in an article or a web page
  • The key concepts or vocabulary words could be highlighted to check for understanding. Some students have problems determining what should be highlighted in an article or passage. Teachers could use this tool to demonstrate how to correctly highlight and find the key points.
  • About diigo.com page Details and Tags Print Download PDF Backlinks Source Delete Rename Redirect Permissions Lock discussion history notify me Protected Details last edit by cmh459 Sunday, 7:53 pm - 36 revisions Tags none About diigo.comDiigo or Digest of Internet Information, Groups and Other stuff is a social bookmarking site that allows its users to bookmark and tag websites. Users are also able to highlight information and put sticky notes directly on the webpage as you are reading it. Your notes can be public which allows other users to view and comment on your notes and add their own or it can be private. Sites can be saved and stored for later reading and commenting. Users can also join groups with similar interests and follow specific people and sites. Teachers can register for an educator account that allows a teacher to create accounts for an entire class. In an education account, students are automatically set up as a Diigo group which allows for easy sharing of documents, pictures, videos, and articles with only your class group. There are also pre-set privacy settings so only the teacher and classmates can see the bookmarks and communications. This is a great way to ensure that your students and their comments are kept private from the rest of the Internet community. Diigo is a great tool for teachers to use to have students interact with material and to share that interaction with classmates. Best Practices for using Diigo tools Tagging Tool Teachers or students can tag a website that they want to bookmark for future reference. Teachers can research websites or articles that they want their students to view on a certain topic and tag them for the students. This tool is nice when researching a certain topic. The teacher can tag the websites that the students should use eliminating the extra time of searching for the sites that would be useful and appropriate for the project.Highlighting Tool Diigo highlighting tool allows the teacher or student to highlight in an article or a web page . 1The key concepts or vocabulary words could be highlighted to check for understanding. Some students have problems determining what should be highlighted in an article or passage. Teachers could use this tool to demonstrate how to correctly highlight and find the key points. Sticky Notes Tool The sticky note tool is a great addition to the tools of diigo. Students may add sticky notes to a passage as they are reading it. The sticky notes could be used to make notes or ask questions by the students. Teachers could postition the sticky notes in the passage for students to respond to various ideas as they are reading. Students could use sticky notes to peer edit and make comments on other student's work through Google docs. These are just a few ideas of how to apply the diigo tools to your teaching practices. Both students and teachers benefit form using these tools. The variety of uses or practices give both groups a hands on way of dealing with text while making it more efficient. Bookmark/Snapsho
  • ...10 more annotations...
  • islt9440 - Group 7: Diigo for Education guest · Join · Help · Sign In · Join this Wiki Recent Changes Manage Wiki Group 7 Project HomeDiigo RSS FeedsSample Lesson Plans Social Studies Spanish Math (Functions) Math (Geometry) Collaboration Pages Collaboration Home Job Assignments Project Info Lesson Plan Ideas About diigo.com page Details and Tags Print Download PDF Backlinks Source Delete Rename Redirect Permissions Lock discussion history notify me Protected Details last edit by cmh459 Sunday, 7:53 pm - 36 revisions Tags none About diigo.com Diigo or Digest of Internet Information, Groups and Other stuff is a social bookmarking site that allows its users to bookmark and tag websites. Users are also able to highlight information and put sticky notes directly on the webpage as you are reading it. Your notes can be public which allows other users to view and comment on your notes and add their own or it can be private. Sites can be saved and stored for later reading and commenting. Users can also join groups with si
  • Diigo or Digest of Internet Information, Groups and Other stuff is a social bookmarking site that allows its users to bookmark
  • and tag websites
  • Diigo highlighting tool allows the teacher or student to highlight in an article or a web page.
  • The key concepts or vocabulary words could be highlighted to check for understanding
  • Diigo highlighting tool allows the teacher or student to highlight in an article or a web page. The key concepts or vocabulary words could be highlighted to check for understanding
  • Diigo highlighting tool allows the teacher or student to highlight in an article or a web page. The key concepts or vocabulary words could be highlighted to check for understanding. Some students have problems determining what should be highlighted in an article or passage. Teachers could use this tool to demonstrate how to correctly highlight and find the key points.
  • Diigo highlighting tool allows the teacher or student to highlight in an article or a web page.
  • Teachers or students can tag a website that they want to bookmark for future reference. Teachers can research websites or articles that they want their students to view on a certain topic and tag them for the students.This tool is nice when researching a certain topic. The teacher can tag the websites that the students should use eliminating the extra time of searching for the sites that would be useful and appropriate for the project.
  • The sticky note tool is a great addition to the tools of diigo. Students may add sticky notes to a passage as they are reading it. The sticky notes could be used to make notes or ask questions by the students.Teachers could postition the sticky notes in the passage for students to respond to various ideas as they are reading.Students could use sticky notes to peer edit and make comments on other student's work through Google docs.
  • Chuck Baker on 15 Nov 10
     
    My group for my grad class, "Learning with the Internet" created this wiki about using and implementing Diigo in the classroom.
carmin karasic

Bring Your Own Technology (B.Y.O.T.) « Excellence in Governance and School Le... - 7 views

blog.eboardsolutions.com/?p=118

BYOT technology

shared by carmin karasic on 06 May 12 - No Cached
    • carmin karasic
      carmin karasic on 06 May 12
       
      Here is a good point against BYOD.
  • carmin karasic on 06 May 12
     
    The comments are interesting too!
Peter Beens

Office 365 for education - a game changer for teaching and learning - Education Insight... - 92 views

blogs.msdn.com/...chools-worldwide-for-free.aspx

Office 365 for Education Microsoft education web2.0

shared by Peter Beens on 27 Jun 12 - No Cached
  • Peter Beens on 27 Jun 12
     
    The cloud and online learning are key trends and opportunities to transform education today. And with today's launch and availability of Office 365 for education, schools now have a holistic collaboration platform that will change the game. As schools face ever-tightening budgets and the pressure to innovate, Microsoft is offering enterprise quality technology for free that will modernize teaching practices and help prepare students for the jobs of tomorrow.
Jack Shields

Donald Clark Plan B: More pedagogic change in 10 years than last 1000 years - all drive... - 89 views

donaldclarkplanb.blogspot.com/...c-change-in-last-10-years.html

pedagogy technology change

shared by Jack Shields on 20 Dec 11 - No Cached
  • Jack Shields on 20 Dec 11
     
    Interesting ideas and pretty true about education not changing.
Roland Gesthuizen

Will a teenager combust if you remove their iPhone? - Sustainability education - Blog -... - 43 views

community.tesaustralia.com/...f-you-remove-their-iphone.aspx

teenager sustainability education community blog

shared by Roland Gesthuizen on 13 Aug 13 - No Cached
  • Roland Gesthuizen on 13 Aug 13
     
    "Thea Nicholas, Science and Sustainability Educator from the not-for-profit organisation Cool Australia, conducts an interesting experiment by separating teenagers from their technology. Find out how long they last... "
Rachel Hinton

12 Windows shortcuts every educator should know - Microsoft in Education Blog - Site Ho... - 132 views

blogs.technet.com/...very-educator-should-know.aspx

Windows microsoft shortcuts tips

shared by Rachel Hinton on 09 Dec 15 - No Cached
  • Rachel Hinton on 09 Dec 15
     
    "Teachers are busy people. While juggling student instruction, assignment review, lesson preparation, and professional development, you need technology to work for you, not against you. Here are some nifty time-saving techniques so you can focus on the things that matter."
  • Rachel Hinton on 09 Dec 15
     
    Only one of these tips is limited to Windows 10.
ekpeterson

Educational Leadership:Teaching Screenagers:Too Dumb for Complex Texts? - 72 views

www.ascd.org/...b-for-Complex-Texts%C2%A2.aspx

reading technology education texts complex learning resources

shared by ekpeterson on 06 Mar 16 - No Cached
  • Willingness to Probe
  • readers may need to sit down with them for several hours of concentration.
  • hey insert a hesitant question before moving on.
  • ...8 more annotations...
  • That willingness to pause and probe is essential, but the dispositions of digital reading run otherwise. Fast skimming is the way of the screen. B
  • they have grooved for many years a reading habit that races through texts, as is the case with texting, e-mail, Twitter, and other exchanges, 18-year-olds will have difficulty suddenly downshifting when faced with a long modernist poem.
  • They are deep and semiconscious behaviors that are difficult to change except through the diligent exercise of other reading behaviors.
  • Texts like this one are too complex to allow for rapid exit and reentry. They often originate in faraway times and places and discuss ideas and realities entirely unfamiliar to the modern teenager. To comprehend what they say requires a suspension of present concerns.
  • Finally, the comprehension of complex texts depends on a receptive posture in readers. They have to finish the labor of understanding before they talk back, and complex texts delay the reaction for hours and days.
  • Digital communications, on the other hand, especially those in the Web 2.0 grain, encourage quick response.
  • Complex texts aren't so easily judged. Often they force adolescents to confront the inferiority of their learning, the narrowness of their experience, and they recoil when they should succumb.
  • reserve a crucial place for unwired, unplugged, and unconnected learning. One hour a day of slow reading with print matter, an occasional research assignment completed without Google—any such practices that slow down and intensify the reading of complex texts will help.
Ed Webb

The Wired Campus - Duke Professor Uses 'Crowdsourcing' to Grade - The Chronicle of High... - 0 views

chronicle.com/...7538

crowdsourcing grading collaboration

shared by Ed Webb on 04 Aug 09 - Cached
  • Learning is more than earning an A says Cathy N. Davidson, the professor, who recently returned to teach English and interdisciplinary studies after eight years in administration. But students don't always see it that way. Vying for an A by trying to figure out what a professor wants or through the least amount of work has made the traditional grading scale superficial, she says.
  • "Do all the work, you get an A. Don't need an A? Don't have time to do all the work? No problem. You can aim for and earn a B. There will be a chart.  You do the assignment satisfactorily, you get the points.  Add up the points, there's your grade. Clearcut. No guesswork. No second-guessing 'what the prof wants.' No gaming the system," Ms. Davidson wrote Sunday in a blog post detailing her strategy on hastac.org (pronounced "haystack"), the acronym for  "humanities, arts, science, and technology-advanced collaboration.," which she co-founded.
  • It's important to teach students how to be responsible contributors to evaluations and assessment. Students are contributing and assessing each other on the Internet anyway, so why not make that a part of learning?"
James Spagnoletti

Göbekli Tepe - Pictures, More From National Geographic Magazine - 67 views

ngm.nationalgeographic.com/...1

religion history anthropology WHAP

shared by James Spagnoletti on 17 Sep 11 - No Cached
Ruth Howard liked it
  • The Birth of ReligionWe used to think agriculture gave rise to cities and later to writing, art, and religion. Now the world’s oldest temple suggests the urge to worship sparked civilization.
  • Before them are dozens of massive stone pillars arranged into a set of rings, one mashed up against the next. Known as Göbekli Tepe (pronounced Guh-behk-LEE TEH-peh), the site is vaguely reminiscent of Stonehenge, except that Göbekli Tepe was built much earlier and is made not from roughly hewn blocks but from cleanly carved limestone pillars splashed with bas-reliefs of animals—a cavalcade of gazelles, snakes, foxes, scorpions, and ferocious wild boars. The assemblage was built some 11,600 years ago, seven millennia before the Great Pyramid of Giza. It contains the oldest known temple. Indeed, Göbekli Tepe is the oldest known example of monumental architecture—the first structure human beings put together that was bigger and more complicated than a hut. When these pillars were erected, so far as we know, nothing of comparable scale existed in the world.
  • At the time of Göbekli Tepe's construction much of the human race lived in small nomadic bands that survived by foraging for plants and hunting wild animals. Construction of the site would have required more people coming together in one place than had likely occurred before. Amazingly, the temple's builders were able to cut, shape, and transport 16-ton stones hundreds of feet despite having no wheels or beasts of burden. The pilgrims who came to Göbekli Tepe lived in a world without writing, metal, or pottery; to those approaching the temple from below, its pillars must have loomed overhead like rigid giants, the animals on the stones shivering in the firelight—emissaries from a spiritual world that the human mind may have only begun to envision.
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  • Archaeologists are still excavating Göbekli Tepe and debating its meaning. What they do know is that the site is the most significant in a volley of unexpected findings that have overturned earlier ideas about our species' deep past. Just 20 years ago most researchers believed they knew the time, place, and rough sequence of the Neolithic Revolution—the critical transition that resulted in the birth of agriculture, taking Homo sapiens from scattered groups of hunter-gatherers to farming villages and from there to technologically sophisticated societies with great temples and towers and kings and priests who directed the labor of their subjects and recorded their feats in written form. But in recent years multiple new discoveries, Göbekli Tepe preeminent among them, have begun forcing archaeologists to reconsider. At first the Neolithic Revolution was viewed as a single event—a sudden flash of genius—that occurred in a single location, Mesopotamia, between the Tigris and Euphrates Rivers in what is now southern Iraq, then spread to India, Europe, and beyond. Most archaeologists believed this sudden blossoming of civilization was driven largely by environmental changes: a gradual warming as the Ice Age ended that allowed some people to begin cultivating plants and herding animals in abundance. The new research suggests that the "revolution" was actually carried out by many hands across a huge area and over thousands of years. And it may have been driven not by the environment but by something else entirely.
  • Most of the world's great religious centers, past and present, have been destinations for pilgrimages
  • Göbekli Tepe may be the first of all of them, the beginning of a pattern. What it suggests, at least to the archaeologists working there, is that the human sense of the sacred—and the human love of a good spectacle—may have given rise to civilization itself.
  • n the 1960s archaeologists from the University of Chicago had surveyed the region and concluded that Göbekli Tepe was of little interest. Disturbance was evident at the top of the hill, but they attributed it to the activities of a Byzantine-era military outpo
  • To Schmidt, the T-shaped pillars are stylized human beings, an idea bolstered by the carved arms that angle from the "shoulders" of some pillars, hands reaching toward their loincloth-draped bellies. The stones face the center of the circle—as at "a meeting or dance," Schmidt says—a representation, perhaps, of a religious ritual. As for the prancing, leaping animals on the figures, he noted that they are mostly deadly creatures: stinging scorpions, charging boars, ferocious lions. The figures represented by the pillars may be guarded by them, or appeasing them, or incorporating them as totems.
  • nches below the surface the team struck an elaborately fashioned stone. Then another, and another—a ring of standing pillars.
  • Geomagnetic surveys in 2003 revealed at least 20 rings piled together, higgledy-piggledy, under the earth.
  • he pillars were big—the tallest are 18 feet in height and weigh 16 tons. Swarming over their surfaces was a menagerie of animal bas-reliefs, each in a different style, some roughly rendered, a few as refined and symbolic as Byzantine art.
  • The circles follow a common design. All are made from limestone pillars shaped like giant spikes or capital T's.
  • They hadn't yet mastered engineering." Knoll speculated that the pillars may have been propped up, perhaps by wooden posts.
  • Within minutes of getting there," Schmidt says, he realized that he was looking at a place where scores or even hundreds of people had worked in millennia past.
  • Puzzle piled upon puzzle as the excavation continued. For reasons yet unknown, the rings at Göbekli Tepe seem to have regularly lost their power, or at least their charm. Every few decades people buried the pillars and put up new stones—a second, smaller ring, inside the first.
  • he site may have been built, filled in, and built again for centuries.
  • Bewilderingly, the people at Göbekli Tepe got steadily worse at temple building.
  • Finally the effort seems to have petered out altogether by 8200 B.C. Göbekli Tepe was all fall and no rise.
Margaret FalerSweany

Academic Skills on Web Are Tied to Income Level - NYTimes.com - 41 views

www.nytimes.com/...-are-tied-to-income-level.html

academic skills web income level

shared by Margaret FalerSweany on 24 Sep 14 - No Cached
  • a new study shows that a separate gap has emerged, with lower-income students again lagging more affluent students in their ability to find, evaluate, integrate and communicate the information they find online.
  • Teachers have to expect and recognize that they can’t just say ‘Google something,’ because some of our students still don’t know what that means
  • teachers often assumed that because adolescents seemed so comfortable with technology that they actually knew how to use it in an academic context. Teachers have the “perception that the students are already tech savvy and can navigate and move around more quickly than the teachers,” Mr. Damico said. “B
afager212

Using Social Bookmarking in Schools and with your Students- Part Two | Silvia Tolisano-... - 17 views

langwitches.org/...nd-with-your-students-part-two

b social bookmarking education bookmarking socialbookmarking social students web2.0 Technology

shared by afager212 on 26 Feb 18 - No Cached
    • afager212
      afager212 on 26 Feb 18
       
      Could be a useful tool when just starting
  • Remember that it is NOT about the tools we use with our students, but the skills we are exposing them to and want them to get proficient in.
  • need to evaluate and interpret information tag bookmarks (their own and/or the ones collected by their teacher) summarize bookmarks (their own and/or the ones shared by teacher) take advantage of “experts in the field” (by subscribing to their RSS for specific tags) learn to search for relevant information beyond “googling” collaborate with other members of a study group (local or global)
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  • a critical mistake when introducing digital tools by assuming that armed with a username and a password, students will automatically find meaningful ways to learn together.
  • Handout_SocialBookmarkingRoles.pdf
Ton Koenraad

EU grants available for courses on integration of technology in (language) education. - 14 views

Those of you eligible for EU grants pls check TELLConsult's renewed offer of ErasmusPlus courses for teachers of Modern Languages and CLIL on a range of topics including: Digital video, Telecollab...

iwb tablet ipad language erasmusplus grant cpd webconferencing differentiation

started by Ton Koenraad on 17 Jan 17 no follow-up yet
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