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Christopher Lee

Creating a Wordsearch using Google Spreadsheets - 1 views

blog.pamelafox.org/...g-wordsearch-using-google.html

gapps googleapps gdocs wordsearch activator vocabulary spreadsheets

shared by Christopher Lee on 25 Jul 12 - No Cached
  • Christopher Lee on 25 Jul 12
     
    SUNDAY, MAY 17, 2009 Creating a Wordsearch using Google Spreadsheets I'm a fan of alternative learning and testing techniques. Back when I was the teaching assistant for the "History of Video Games" class (yes, that's a real class), I gave the final exam as an illustrated crossword puzzle. It was surprisingly hard to find software for creating that crossword, so I hoped to make a Spreadsheets gadget to make it easier. Unfortunately, crossword-solving algorithms that run entirely in JavaScript are hard to find, and I gave up and went for second best: a wordsearch gadget. (A big thanks to Robert Klein for the wordsearch JavaScript library.) Here are steps for using the gadget: Create a new spreadsheet, and put a list of words in the first column. (Or, alternatively, use an existing spreadsheet that has a column of words you're interested in). My sample spreadsheet has a simple animals wordlist: Click on the "Insert" menu and then select "Gadget..." This presents you with various categories of gadgets to choose from (similar to the iGoogle directory). My gadget isn't yet in the gallery, so you'll need to select "Custom" and then type in the URL to the gadget: The gadget will appear embedded in the current worksheet, and it will prompt you to select a range of data to send to the gadget. Select all the cells that contain the desired words, and you should see the Range text field update with the range. If it doesn't work, you can always manually type it in. You can now customize the number of rows and columns. The default is 10 by 10, but if you have more words, you likely want a larger wordsearch. Click "Apply", and see the generated output. You have a few options for how you use the wordsearch. You can play with it immediately, inside that gadget, or you can use the option on the gadget menu to move the gadget to its own sheet and use it there. Note that each time you reload the spreadsheet, the wordsearch will be randomly generated with a new layout - so
Marianne Hart

The Creativity Crisis - Newsweek - 48 views

www.newsweek.com/...the-creativity-crisis.html

shared by Marianne Hart on 13 Jul 10 - Cached
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • “Creativity can be taught,”
  • it’s left to the luck of the draw who becomes creative: there’s no concerted effort to nurture the creativity of all children
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Students are labeled as "creative" if they display a knack for art or music, and sometimes in writing, however, they are rarely recognized as creative in math or science where a lot of creativity is not only needed, but excellent for learning within those very two disciplines.
    • Bill Genereux
      Bill Genereux on 23 Aug 10
       
      This is precisely why creativity education is important. It is needed everywhere, not just in the arts. Those teaching outside of arts education need to start recognizing the importance of creative thinking as well.
  • ...23 more annotations...
  • When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”
  • The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.
  • When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better
    • Ed Webb
      Ed Webb on 23 Jul 10
       
      Surely, "more quickly"?
  • Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Likely because it was out of necessity and the hardships of life. Not that we don't have hardships and necessities, but innovation has solved a lot of problems and automation has made skills and tasks easy.
  • What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Everyday process of work or school... over time, consistent and non-prescriptive.
  • kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.
  • project-based learning
  • highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.
  • When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.
  • solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others
  • The age-old belief that the arts have a special claim to creativity is unfounded.
  • When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.
  • The lore of pop psychology is that creativity occurs on the right side of the brain. But we now know that if you tried to be creative using only the right side of your brain, it’d be like living with ideas perpetually at the tip of your tongue, just beyond reach
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.
  • The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer
  • The new view is that creativity is part of normal brain function.
  • “As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”
  • In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.
  • fact-finding
  • problem-finding
  • Next, idea-finding
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • Christian Howd on 13 Jul 10
     
    For the first time, research shows that American creativity is declining. What went wrong-and how we can fix it.
Mariusz Leś

The Nerdy Teacher: What Makes Project Based Learning Effective? #Edchat #EngChat - 132 views

www.thenerdyteacher.com/...es-project-based-learning.html

Edchat Twitter learning project

shared by Mariusz Leś on 28 Nov 11 - No Cached
  • Mariusz Leś on 28 Nov 11
     
    1. OWNERSHIP is key. For this project, the students were not listening to me on why Twain was or was not a racist, they were showing me and the rest of class what they thought. They were invested in winning their argument. They knew that their work was going to determine if he was guilty or not. Although I gave the assignment, the students were in charge the rest of the way. It was their project and they wanted to do it win. When students feel they own what they are doing, they will work harder. When the audience is larger, they want to impress everyone. These are not crazy ideas, they are the results of owning the work they are doing. OWNERSHIP is a major factor in the value of PBL. 2. CREATIVITY is the another major part of the PBL and is closely linked with OWNERSHIP. Students were allowed to be creative in their work as a lawyer or witness. Witnesses needed to stay within character, but could add their own elements on the witness stand. Allowing the students to create gives them a bigger sense of OWNERSHIP. 3. Another part of the PBL is the COLLABORATION. Students were working with each other trying to decide the best plan of attack. Witnesses would meet with their lawyers and discuss how the questions they were going to ask and how they should dress. The Jury worked on group projects researching the previous public opinions on Twain and his writing. Students were sharing ideas freely with one another. I had three sections of American Lit at the time, so I had three trails running. Lawyers would help others in the other classes and trash talk the opposing lawyers as well. It was all in good fun, but the collaboration had students working hard with one another to accomplish this goal. 4. Depending on how you set up your project, CRITICAL THINKING, is also an important part of PBL. With my Twain Trail, students needed to think about both sides of the argument. Students needed to prepare their witnesses for potential cross-examination questions. They needed to
Jac Londe

17 U.S. Code § 106A - Rights of certain authors to attribution and integrity ... - 1 views

www.law.cornell.edu/...106A

u s rights authors attribution integrity information

shared by Jac Londe on 23 Jan 14 - No Cached
  • (a) Rights of Attribution and Integrity.— Subject to section 107 and independent of the exclusive rights provided in section 106, the author of a work of visual art— (1) shall have the right—
  • (A) to claim authorship of that work, and
  • (B) to prevent the use of his or her name as the author of any work of visual art which he or she did not create;
  • ...10 more annotations...
  • (2) shall have the right to prevent the use of his or her name as the author of the work of visual art in the event of a distortion, mutilation, or other modification of the work which would be prejudicial to his or her honor or reputation; and
  • (3) subject to the limitations set forth in section 113 (d), shall have the right— (A) to prevent any intentional distortion, mutilation, or other modification of that work which would be prejudicial to his or her honor or reputation, and any intentional distortion, mutilation, or modification of that work is a violation of that right, and (B) to prevent any destruction of a work of recognized stature, and any intentional or grossly negligent destruction of that work is a violation of that right.
  • (b) Scope and Exercise of Rights.— Only the author of a work of visual art has the rights conferred by subsection (a) in that work, whether or not the author is the copyright owner. The authors of a joint work of visual art are coowners of the rights conferred by subsection (a) in that work.
  • (4) All terms of the rights conferred by subsection (a) run to the end of the calendar year in which they would otherwise expire.
  • (d) Duration of Rights.— (1) With respect to works of visual art created on or after the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, the rights conferred by subsection (a) shall endure for a term consisting of the life of the author.
  • (2) With respect to works of visual art created before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, but title to which has not, as of such effective date, been transferred from the author, the rights conferred by subsection (a) shall be coextensive with, and shall expire at the same time as, the rights conferred by section 106.
  • (3) In the case of a joint work prepared by two or more authors, the rights conferred by subsection (a) shall endure for a term consisting of the life of the last surviving author.
  • (c) Exceptions.— (1) The modification of a work of visual art which is a result of the passage of time or the inherent nature of the materials is not a distortion, mutilation, or other modification described in subsection (a)(3)(A). (2) The modification of a work of visual art which is the result of conservation, or of the public presentation, including lighting and placement, of the work is not a destruction, distortion, mutilation, or other modification described in subsection (a)(3) unless the modification is caused by gross negligence. (3) The rights described in paragraphs (1) and (2) of subsection (a) shall not apply to any reproduction, depiction, portrayal, or other use of a work in, upon, or in any connection with any item described in subparagraph (A) or (B) of the definition of “work of visual art” in section 101, and any such reproduction, depiction, portrayal, or other use of a work is not a destruction, distortion, mutilation, or other modification described in paragraph (3) of subsection (a).
  • (e) Transfer and Waiver.— (1) The rights conferred by subsection (a) may not be transferred, but those rights may be waived if the author expressly agrees to such waiver in a written instrument signed by the author. Such instrument shall specifically identify the work, and uses of that work, to which the waiver applies, and the waiver shall apply only to the work and uses so identified. In the case of a joint work prepared by two or more authors, a waiver of rights under this paragraph made by one such author waives such rights for all such authors.
  • (2) Ownership of the rights conferred by subsection (a) with respect to a work of visual art is distinct from ownership of any copy of that work, or of a copyright or any exclusive right under a copyright in that work. Transfer of ownership of any copy of a work of visual art, or of a copyright or any exclusive right under a copyright, shall not constitute a waiver of the rights conferred by subsection (a). Except as may otherwise be agreed by the author in a written instrument signed by the author, a waiver of the rights conferred by subsection (a) with respect to a work of visual art shall not constitute a transfer of ownership of any copy of that work, or of ownership of a copyright or of any exclusive right under a copyright in that work.
Maureen Greenbaum

The Future of College? - The Atlantic - 29 views

www.theatlantic.com/...375071

future college education pedagogy

shared by Maureen Greenbaum on 16 Aug 14 - No Cached
  • proprietary online platform developed to apply pedagogical practices that have been studied and vetted by one of the world’s foremost psychologists, a former Harvard dean named Stephen M. Kosslyn, who joined Minerva in 2012.
  • inductive reasoning
  • Minerva class extended no refuge for the timid, nor privilege for the garrulous. Within seconds, every student had to provide an answer, and Bonabeau displayed our choices so that we could be called upon to defend them.
  • ...45 more annotations...
  • subjecting us to pop quizzes, cold calls, and pedagogical tactics that during an in-the-flesh seminar would have taken precious minutes of class time to arrange.
  • felt decidedly unlike a normal classroom. For one thing, it was exhausting: a continuous period of forced engagement, with no relief in the form of time when my attention could flag
  • One educational psychologist, Ludy Benjamin, likens lectures to Velveeta cheese—something lots of people consume but no one considers either delicious or nourishing.)
  • because I had to answer a quiz question or articulate a position. I was forced, in effect, to learn
  • adically remake one of the most sclerotic sectors of the U.S. economy, one so shielded from the need for improvement that its biggest innovation in the past 30 years has been to double its costs and hire more administrators at higher salaries.
  • past half millennium, the technology of learning has hardly budge
  • fellow edu-nauts
  • Lectures are banned
  • attending class on Apple laptops
  • Lectures, Kosslyn says, are cost-effective but pedagogically unsound. “A great way to teach, but a terrible way to learn.”
  • Minerva boast is that it will strip the university experience down to the aspects that are shown to contribute directly to student learning. Lectures, gone. Tenure, gone. Gothic architecture, football, ivy crawling up the walls—gone, gone, gone.
  • “Your cash cow is the lecture, and the lecture is over,” he told a gathering of deans. “The lecture model ... will be obliterated.”
  • One imagines tumbleweeds rolling through abandoned quads and wrecking balls smashing through the windows of classrooms left empty by students who have plugged into new online platforms.
  • when you have a noncurated academic experience, you effectively don’t get educated.
  • Liberal-arts education is about developing the intellectual capacity of the individual, and learning to be a productive member of society. And you cannot do that without a curriculum.”
  • “The freshman year [as taught at traditional schools] should not exist,” Nelson says, suggesting that MOOCs can teach the basics. “Do your freshman year at home.”) Instead, Minerva’s first-year classes are designed to inculcate what Nelson calls “habits of mind” and “foundational concepts,” which are the basis for all sound systematic thought. In a science class, for example, students should develop a deep understanding of the need for controlled experiments. In a humanities class, they need to learn the classical techniques of rhetoric and develop basic persuasive skills. The curriculum then builds from that foundation.
  • What, he asks, does it mean to be educated?
  • methods will be tested against scientifically determined best practices
  • Subsidies, Nelson says, encourage universities to enroll even students who aren’t likely to thrive, and to raise tuition, since federal money is pegged to costs.
  • We have numerous sound, reproducible experiments that tell us how people learn, and what teachers can do to improve learning.” Some of the studies are ancient, by the standards of scientific research—and yet their lessons are almost wholly ignored.
  • memory of material is enhanced by “deep” cognitive tasks
  • he found the man’s view of education, in a word, faith-based
  • ask a student to explain a concept she has been studying, the very act of articulating it seems to lodge it in her memory. Forcing students to guess the answer to a problem, and to discuss their answers in small groups, seems to make them understand the problem better—even if they guess wrong.
  • e traditional concept of “cognitive styles”—visual versus aural learners, those who learn by doing versus those who learn by studying—is muddled and wrong.
  • pedagogical best practices Kosslyn has identified have been programmed into the Minerva platform so that they are easy for professors to apply. They are not only easy, in fact, but also compulsory, and professors will be trained intensively in how to use the platform.
  • Professors are able to sort students instantly, and by many metrics, for small-group work—
  • a pop quiz at the beginning of a class and (if the students are warned in advance) another one at a random moment later in the class greatly increases the durability of what is learned.
  • he could have alerted colleagues to best practices, but they most likely would have ignored them. “The classroom time is theirs, and it is sacrosanct,
  • Lectures, Kosslyn says, are pedagogically unsound,
  • I couldn’t wait for Minerva’s wrecking ball to demolish the ivory tower.
  • The MOOCs will eventually make lectures obsolete.”
  • Minerva’s model, Nelson says, will flourish in part because it will exploit free online content, rather than trying to compete with it, as traditional universities do.
  • The MOOCs will eventually make lectures obsolete.”
  • certain functions of universities have simply become less relevant as information has become more ubiquitous
  • Minerva challenges the field to return to first principles.
  • MOOCs will continue to get better, until eventually no one will pay Duke or Johns Hopkins for the possibility of a good lecture, when Coursera offers a reliably great one, with hundreds of thousands of five-star ratings, for free.
  • It took deep concentration,” he said. “It’s not some lecture class where you can just click ‘record’ on your tape.”
  • part of the process of education happens not just through good pedagogy but by having students in places where they see the scholars working and plying their trades.”
  • “hydraulic metaphor” of education—the idea that the main task of education is to increase the flow of knowledge into the student—an “old fallacy.”
  • I remembered what I was like as a teenager headed off to college, so ignorant of what college was and what it could be, and so reliant on the college itself to provide what I’d need in order to get a good education.
  • it is designed to convey not just information, as most MOOCs seem to, but whole mental tool kits that help students become morethoughtful citizens.
  • for all the high-minded talk of liberal education— of lighting fires and raising thoughtful citizens—is really just a credential, or an entry point to an old-boys network that gets you your first job and your first lunch with the machers at your alumni club.
  • Its seminar platform will challenge professors to stop thinking they’re using technology just because they lecture with PowerPoint.
  • professors and students increasingly separated geographically, mediated through technology that alters the nature of the student-teacher relationship
  • The idea that college will in two decades look exactly as it does today increasingly sounds like the forlorn, fingers-crossed hope of a higher-education dinosaur that retirement comes before extinction.
Shannon Smith

Need resources to assist in creating a 21st century learner training/ professional deve... - 133 views

Thank you! This is great information! James McKee wrote: > Shannon, > > I was recently referred to this video of Michael Wesch who teaches cultural anthropology at Kansas State University. He ...

professional development 21st century learners technology

started by Shannon Smith on 22 Nov 08 8 follow-ups, last by Shannon Smith on 04 Dec 08
anonymous

The Coach in the Operating Room - The New Yorker - 37 views

www.newyorker.com/...personal-best

coaching teaching professional development

shared by anonymous on 14 Dec 16 - No Cached
Xiaojing Kou liked it
  • I compared my results against national data, and I began beating the averages.
    • anonymous
      anonymous on 14 Dec 16
       
      this is one of the most important reasons for data and using the data to help guide instruction
  • the obvious struck me as interesting: even Rafael Nadal has a coach. Nearly every élite tennis player in the world does. Professional athletes use coaches to make sure they are as good as they can be.
    • anonymous
      anonymous on 14 Dec 16
       
      Why wouldn't we want a coach? Our supervisor or administrator often serves as an evaluator but might not have the time due to time constraints to serve as an effective and dedicated coach. Yet, a coach doesn't have to be an expert. Couldn't the coach just be a colleague with a different skill set?
  • They don’t even have to be good at the sport. The famous Olympic gymnastics coach Bela Karolyi couldn’t do a split if his life depended on it. Mainly, they observe, they judge, and they guide.
    • anonymous
      anonymous on 14 Dec 16
       
      PROFOUND!!!
  • ...31 more annotations...
  • always evolving
    • anonymous
      anonymous on 14 Dec 16
       
      Please tell me what profession isn't always evolving? It something isn't evolving, it is dying! So, why doesn't everyone on the face of the earth - regardless of his/her profession or station in life - need coaching periodically to help them continue to grow and evolve?
  • We have to keep developing our capabilities and avoid falling behind.
  • no matter how well prepared people are in their formative years, few can achieve and maintain their best performance on their own.
  • outside ears, and eyes, are important
  • For decades, research has confirmed that the big factor in determining how much students learn is not class size or the extent of standardized testing but the quality of their teachers.
    • anonymous
      anonymous on 14 Dec 16
       
      So, instead of having students take test after test after test, why don't we just have coaches who observe and sit and discuss and offer suggestions and divide the number of tests we give students in half and do away with half? Are we concerned about student knowledge? student performance? student ability? student growth or capacity for growth? What we really need to identify is what we value!
  • California researchers in the early nineteen-eighties conducted a five-year study of teacher-skill development in eighty schools, and noticed something interesting. Workshops led teachers to use new skills in the classroom only ten per cent of the time. Even when a practice session with demonstrations and personal feedback was added, fewer than twenty per cent made the change. But when coaching was introduced—when a colleague watched them try the new skills in their own classroom and provided suggestions—adoption rates passed ninety per cent. A spate of small randomized trials confirmed the effect. Coached teachers were more effective, and their students did better on tests.
    • anonymous
      anonymous on 14 Dec 16
       
      Of course they are more effective! They have a trusted individual to guide them, mentor them, help sustain them. The coach can cheer and affirm what the teacher is already doing well and offer suggestions that are desired and sought in order to improve their 'game' and become more effective.
  • they did not necessarily have any special expertise in a content area, like math or science.
    • anonymous
      anonymous on 14 Dec 16
       
      Knowledge of the content is one thing and expertise is yet another. Sometimes what makes us better teachers is simply strategies and techniques - not expertise in the content. Sometimes what makes us better teachers could simply be using a different tool or offering options for students to choose.
  • The coaches let the teachers choose the direction for coaching. They usually know better than anyone what their difficulties are.
    • anonymous
      anonymous on 14 Dec 16
       
      The conversation with the coach and the coach listening and learning what the teacher would like to expand, improve, and grow is probably the most vital part! If the teacher doesn't have a clue, the coach could start anywhere and that might not be what the teacher adopts and owns. So, the teacher must have ownership and direction.
  • teaches coaches to observe a few specifics: whether the teacher has an effective plan for instruction; how many students are engaged in the material; whether they interact respectfully; whether they engage in high-level conversations; whether they understand how they are progressing, or failing to progress.
    • anonymous
      anonymous on 14 Dec 16
       
      This could provide specific categories to offer teachers a choice in what direction they want to go toward improving - especially important for those who want broad improvement or are clueless at where to start.
  • must engage in “deliberate practice”—sustained, mindful efforts to develop the full range of abilities that success requires. You have to work at what you’re not good at.
  • most people do not know where to start or how to proceed. Expertise, as the formula goes, requires going from unconscious incompetence to conscious incompetence to conscious competence and finally to unconscious competence.
    • anonymous
      anonymous on 14 Dec 16
       
      Progression
  • The coach provides the outside eyes and ears, and makes you aware of where you’re falling short.
    • anonymous
      anonymous on 14 Dec 16
       
      The coach also makes you aware of where you are excelling!
  • So coaches use a variety of approaches—showing what other, respected colleagues do, for instance, or reviewing videos of the subject’s performance. The most common, however, is just conversation.
  • “What worked?”
    • anonymous
      anonymous on 14 Dec 16
       
      Great way to open any coaching conversation!
  • “How could you help her?”
  • “What else did you notice?”
    • anonymous
      anonymous on 14 Dec 16
       
      These questions are quite similar to what we ask little children when they are learning something new. How did that go? What else could you do? What could you do differently? What more is needed? What would help?
  • something to try.
    • anonymous
      anonymous on 14 Dec 16
       
      Suggestions of something to try! Any colleague can offer this - so why don't we ask colleagues for ideas of something to try more often?
  • three colleagues on a lunch break
  • Good coaches, he said, speak with credibility, make a personal connection, and focus little on themselves.
    • anonymous
      anonymous on 14 Dec 16
       
      I probably need this printed out and stuck to the monitor of my computer or tattooed on my hand!
  • “listened more than they talked,” Knight said. “They were one hundred per cent present in the conversation.”
    • anonymous
      anonymous on 14 Dec 16
       
      patient, engaged listening
  • coaching has definitely changed how satisfying teaching is
  • trying to get residents to think—to think like surgeons—and his questions exposed how much we had to learn.
    • anonymous
      anonymous on 14 Dec 16
       
      Encouraging people to think - it is important to teach and encourage thinking rather than teaching them WHAT to think!
  • a whole list of observations like this.
  • one twenty-minute discussion gave me more to consider and work on than I’d had in the past five years.
  • watch other colleagues operate in order to gather ideas about what I could do.
    • anonymous
      anonymous on 14 Dec 16
       
      This is one of the greatest strategies to promote growth - ever!
  • routine, high-quality video recordings of operations could enable us to figure out why some patients fare better than others.
    • anonymous
      anonymous on 14 Dec 16
       
      I always hate seeing a video of me teaching but I did learn so much about myself, my teaching, and my students that I could not learn in any other way!
  • I know that I’m learning again.
  • It’s teaching with a trendier name. Coaching aimed at improving the performance of people who are already professionals is less usual.
    • anonymous
      anonymous on 14 Dec 16
       
      But it still works and is effective at nudging even those who are fabulous to be even better!
  • modern society increasingly depends on ordinary people taking responsibility for doing extraordinary things
  • coaching may prove essential to the success of modern society.
  • We care about results in sports, and if we care half as much about results in schools and in hospitals we may reach the same conclusion.
  • anonymous on 14 Dec 16
     
    Valuable points about coaching - makes me want my own coach!
Jac Londe

17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and scu... - 10 views

www.law.cornell.edu/...113

u s code scope exclusive graphic works information

shared by Jac Londe on 23 Jan 14 - No Cached
  • U.S. Code › Title 17 › Chapter 1 › § 113 17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and sculptural works
  • (a) Subject to the provisions of subsections (b) and (c) of this section, the exclusive right to reproduce a copyrighted pictorial, graphic, or sculptural work in copies under section 106 includes the right to reproduce the work in or on any kind of article, whether useful or otherwise.
  • (b) This title does not afford, to the owner of copyright in a work that portrays a useful article as such, any greater or lesser rights with respect to the making, distribution, or display of the useful article so portrayed than those afforded to such works under the law, whether title 17 or the common law or statutes of a State, in effect on December 31, 1977, as held applicable and construed by a court in an action brought under this title.
  • ...8 more annotations...
  • (c) In the case of a work lawfully reproduced in useful articles that have been offered for sale or other distribution to the public, copyright does not include any right to prevent the making, distribution, or display of pictures or photographs of such articles in connection with advertisements or commentaries related to the distribution or display of such articles, or in connection with news reports.
  • (d) (1) In a case in which— (A) a work of visual art has been incorporated in or made part of a building in such a way that removing the work from the building will cause the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), and
  • (B) the author consented to the installation of the work in the building either before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, or in a written instrument executed on or after such effective date that is signed by the owner of the building and the author and that specifies that installation of the work may subject the work to destruction, distortion, mutilation, or other modification, by reason of its removal,
  • then the rights conferred by paragraphs (2) and (3) of section 106A (a) shall not apply.
  • (2) If the owner of a building wishes to remove a work of visual art which is a part of such building and which can be removed from the building without the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), the author’s rights under paragraphs (2) and (3) of section 106A (a) shall apply unless—
  • (A) the owner has made a diligent, good faith attempt without success to notify the author of the owner’s intended action affecting the work of visual art, or (B) the owner did provide such notice in writing and the person so notified failed, within 90 days after receiving such notice, either to remove the work or to pay for its removal.
  • For purposes of subparagraph (A), an owner shall be presumed to have made a diligent, good faith attempt to send notice if the owner sent such notice by registered mail to the author at the most recent address of the author that was recorded with the Register of Copyrights pursuant to paragraph (3). If the work is removed at the expense of the author, title to that copy of the work shall be deemed to be in the author.
  • (3) The Register of Copyrights shall establish a system of records whereby any author of a work of visual art that has been incorporated in or made part of a building, may record his or her identity and address with the Copyright Office. The Register shall also establish procedures under which any such author may update the information so recorded, and procedures under which owners of buildings may record with the Copyright Office evidence of their efforts to comply with this subsection.
pepe1976

SLAVERY | The Handbook of Texas Online| Texas State Historical Association (TSHA) - 26 views

www.tshaonline.org/...yps01

EDT5372

shared by pepe1976 on 12 Nov 11 - No Cached
  • SLAVERY. Texas was the last frontier of slavery in the United States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin's colony. The original empresario commission given Moses Austin by Spanish authorities in 1821 did not mention slaves, but when Stephen Austin was recognized as heir to his father's contract later that year, it was agreed that settlers could receive eighty acres of land for each bondsman brought to Texas. Enough of Austin's original 300 families brought slaves with them that a census of his colony in 1825 showed 443 in a total population of 1,800. The independence of Mexico cast doubt on the future of the institution in Texas. From 1821 until 1836 both the national government in Mexico City and the state government of Coahuila and Texas threatened to restrict or destroy black servitude. Neither government adopted any consistent or effective policy to prevent slavery in Texas; nevertheless, their threats worried slaveholders and possibly retarded the immigration of planters from the Old South. In 1836 Texas had an estimated population of 38,470, only 5,000 of whom were slaves.
  • SLAVERY . Texas was the last frontier of slavery in the United States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin 's colony. The original empresario commission given Moses Austin by Spanish authorities in 1821 did not mention slaves, but when Stephen Austin was recognized as heir to his father's contract later that year, it was agreed that settlers could receive eighty acres of land for each bondsman brought to Texas. Enough of Austin's original 300 families brought slaves with them that a census of his colony in 1825 showed 443 in a total population of 1,800. The independence of Mexico cast doubt on the future of the institution in Texas. From 1821 until 1836 both the national government in Mexico City and the state government of Coahuila and Texas threatened to restrict or destroy black servitude. Neither government adopted any consistent or effective policy to prevent slavery in Texas; nevertheless, their threats worried slaveholders and possibly retarded the immigration of planters from the Old South. In 1836 Texas had an estimated population of 38,470, only 5,000 of whom were slaves
  • States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin 's colony
  • pepe1976 on 12 Nov 11
     
    The issue of Slavery in Texas before, during and post Texas Revolution and the establishment of a new government.
Christophe Gigon

elearnspace. Connectivism: A Learning Theory for the Digital Age - 17 views

www.elearnspace.org/...connectivism.htm

connectivism MEMOIRE learning elearning theory collaboration technology community

shared by Christophe Gigon on 09 Dec 08 - Cached
  • Over the last twenty years, technology has reorganized how we live, how we communicate, and how we learn.
    • Rose Molter
      Rose Molter on 30 Aug 11
       
      I aggree that as teachers we need to realize that technology has changed instruction and the way that our students learn and the way that we learn and instruct.
    • Orlando Gonzalez
      Orlando Gonzalez on 13 Mar 12
       
      Technology has always changed the way we live. How did we respond to changes in the past? One thought is that some institutions, some businesses disappeared, while others, who took advantage of the new tech, appeared to replace the old. It will happen again and we as educators need to lead the way.
    • Maureen Curran
      Maureen Curran on 24 Mar 12
       
      With technology our students brains are wired differently and they can multi-task and learn in multiple virtual environments all at once. This should make us think about how we present lessons, structure learning and keep kids engaged.
    • Mike Burnett
      Mike Burnett on 18 Aug 14
       
      Rubbish. The idea that digital native are adept at multitasking is wrong. They may be doing many things but the quality and depth is reduced. There is a significant body of research to support this. Development of grit and determination are key attributes of successful people. Set and demand high standards. No one plays sport or an instrument because it is easy rather because they can clearly see a link between hard work and pleasure.
  • Information development was slow.
  • Many learners will move into a variety of different, possibly unrelated fields over the course of their lifetime.
  • ...41 more annotations...
  • Informal learning is a significant aspect of our learning experience.
  • Learning is a continual process, lasting for a lifetime.
  • Technology is altering (rewiring) our brains.
  • Connectivism is the integration of principles explored by chaos, network, and complexity and self-organization theories.
  • Principles of connectivism:
  • Learning and knowledge rests in diversity of opinions. Learning is a process of connecting specialized nodes or information sources. Learning may reside in non-human appliances. Capacity to know more is more critical than what is currently known Nurturing and maintaining connections is needed to facilitate continual learning. Ability to see connections between fields, ideas, and concepts is a core skill. Currency (accurate, up-to-date knowledge) is the intent of all connectivist learning activities. Decision-making is itself a learning process. Choosing what to learn and the meaning of incoming information is seen through the lens of a shifting reality. While there is a right answer now, it may be wrong tomorrow due to alterations in the information climate affecting the decision.
    • Rose Molter
      Rose Molter on 30 Aug 11
       
      I think it is important for us to realize the importance of connections.
  • The organization and the individual are both learning organisms.
  • Classrooms which emulate the “fuzziness”
    • Maureen Curran
      Maureen Curran on 24 Mar 12
       
      So what does this look like? I feel that when I attempt this, evaluators and administrators don't necessarily understand. They want a neat, quiet, well-managed, orderly classroom.
    • Maureen Curran
      Maureen Curran on 24 Mar 12
       
      If new learning approaches are required, then why are we still being evaluated in a linear way?
  • John Seely Brown presents an interesting notion that the internet leverages the small efforts of many with the large efforts of few.
  • The pipe is more important than the content within the pipe. Our ability to learn what we need for tomorrow is more important than what we know today.
  • Knowledge is growing exponentially
  • amount of knowledge
  • is doubling every 18 months
  • To combat the shrinking half-life of knowledge, organizations have been forced to develop new methods of deploying instruction.”
  • (the understanding of where to find knowledge needed).
  • know-where
  • learning
  • a persisting change in human performance or performance potential…[which] must come about as a result of the learner’s experience and interaction with the world”
  • Learning theories are concerned with the actual process of learning, not with the value of what is being learned.
  • The ability to synthesize and recognize connections and patterns is a valuable skill.
  • knowledge is no longer acquired in the linear manner
  • What is the impact of chaos as a complex pattern recognition process on learning
  • An entirely new approach is needed.
  • Chaos is the breakdown of predictability, evidenced in complicated arrangements that initially defy order.
  • Meaning-making and forming connections between specialized communities are important activities.
  • Chaos, as a science, recognizes the connection of everything to everything.
  • If the underlying conditions used to make decisions change, the decision itself is no longer as correct as it was at the time it was made.
  • principle that people, groups, systems, nodes, entities can be connected to create an integrated whole.
  • Connections between disparate ideas and fields can create new innovations.
  • Learning is a process that occurs within nebulous environments of shifting core elements – not entirely under the control of the individual
  • decisions are based on rapidly altering foundations
  • The ability to draw distinctions between important and unimportant information is vital.
  • Behaviorism, cognitivism, and constructivism do not attempt to address the challenges of organizational knowledge and transference.
  • The health of the learning ecology of the organization depends on effective nurturing of information flow.
  • This cycle of knowledge development (personal to network to organization) allows learners to remain current in their field through the connections they have formed.
  • This amplification of learning, knowledge and understanding through the extension of a personal network is the epitome of connectivism.
  • Diverse teams of varying viewpoints are a critical structure for completely exploring ideas
  • An organizations ability to foster, nurture, and synthesize the impacts of varying views of information is critical to knowledge economy surviva
  • As knowledge continues to grow and evolve, access to what is needed is more important than what the learner currently possesses.
    • BalancEd Tech
      BalancEd Tech on 25 Mar 12
       
      Access is not enough. Prior knowledge and understanding is needed. Processing is needed. Evaluation of processing and outputs is needed. Feeding that back into the "system" is needed.
  • learning is no longer an internal, individualistic activity
  • learning is no longer an internal, individualistic activity
Benjamin Light

The Costs of Overemphasizing Achievement - 83 views

www.alfiekohn.org/...tcooa.htm

assessment grading achievement education kohn

shared by Benjamin Light on 13 May 11 - Cached
  • First, students tend to lose interest in whatever they’re learning. As motivation to get good grades goes up, motivation to explore ideas tends to go down. Second, students try to avoid challenging tasks whenever possible. More difficult assignments, after all, would be seen as an impediment to getting a top grade. Finally, the quality of students’ thinking is less impressive. One study after another shows that creativity and even long-term recall of facts are adversely affected by the use of traditional grades.
    • Deb White Groebner
      Deb White Groebner on 13 May 11
       
      SO true!
    • Terie Engelbrecht
      Terie Engelbrecht on 27 Jun 11
       
      Very true; especially the "avoiding challenging tasks" part.
  • Unhappily, assessment is sometimes driven by entirely different objectives--for example, to motivate students (with grades used as carrots and sticks to coerce them into working harder) or to sort students (the point being not to help everyone learn but to figure out who is better than whom)
  • Standardized tests often have the additional disadvantages of being (a) produced and scored far away from the classroom, (b) multiple choice in design (so students can’t generate answers or explain their thinking), (c) timed (so speed matters more than thoughtfulness) and (d) administered on a one-shot, high-anxiety basis.
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  • The test designers will probably toss out an item that most students manage to answer correctly.
  • the evidence suggests that five disturbing consequences are likely to accompany an obsession with standards and achievement:
  • 1. Students come to regard learning as a chore.
  • intrinsic motivation and extrinsic motivation tend to be inversely related: The more people are rewarded for doing something, the more they tend to lose interest in whatever they had to do to get the reward.
  • 2. Students try to avoid challenging tasks.
  • they’re just being rational. They have adapted to an environment where results, not intellectual exploration, are what count. When school systems use traditional grading systems--or, worse, when they add honor rolls and other incentives to enhance the significance of grades--they are unwittingly discouraging students from stretching themselves to see what they’re capable of doing.
  • 3. Students tend to think less deeply.
  • 4. Students may fall apart when they fail.
  • 5. Students value ability more than effort
    • Deb White Groebner
      Deb White Groebner on 13 May 11
       
      This is the reinforcement of a "fixed mindset" (vs. (growth mindset) as described by Carol Dweck.
  • They seem to be fine as long as they are succeeding, but as soon as they hit a bump they may regard themselves as failures and act as though they’re helpless to do anything about it.
  • When the point isn’t to figure things out but to prove how good you are, it’s often hard to cope with being less than good.
  • It may be the systemic demand for high achievement that led him to become debilitated when he failed, even if the failure is only relative.
  • But even when better forms of assessment are used, perceptive observers realize that a student’s score is less important than why she thinks she got that score.
  • just smart
  • luck:
  • tried hard
  • task difficulty
  • It bodes well for the future
  • the punch line: When students are led to focus on how well they are performing in school, they tend to explain their performance not by how hard they tried but by how smart they are.
  • In their study of academically advanced students, for example, the more that teachers emphasized getting good grades, avoiding mistakes and keeping up with everyone else, the more the students tended to attribute poor performance to factors they thought were outside their control, such as a lack of ability.
  • When students are made to think constantly about how well they are doing, they are apt to explain the outcome in terms of who they are rather than how hard they tried.
  • And if children are encouraged to think of themselves as "smart" when they succeed, doing poorly on a subsequent task will bring down their achievement even though it doesn’t have that effect on other kids.
  • The upshot of all this is that beliefs about intelligence and about the causes of one’s own success and failure matter a lot. They often make more of a difference than how confident students are or what they’re truly capable of doing or how they did on last week’s exam. If, like the cheerleaders for tougher standards, we look only at the bottom line, only at the test scores and grades, we’ll end up overlooking the ways that students make sense of those results.
  • the problem with tests is not limited to their content.
  • if too big a deal is made about how students did, thus leading them (and their teachers) to think less about learning and more about test outcomes.
  • As Martin Maehr and Carol Midgley at the University of Michigan have concluded, "An overemphasis on assessment can actually undermine the pursuit of excellence."
  • Only now and then does it make sense for the teacher to help them attend to how successful they’ve been and how they can improve. On those occasions, the assessment can and should be done without the use of traditional grades and standardized tests. But most of the time, students should be immersed in learning.
  • the findings of the Colorado experiment make perfect sense: The more teachers are thinking about test results and "raising the bar," the less well the students actually perform--to say nothing of how their enthusiasm for learning is apt to wane.
  • The underlying problem concerns a fundamental distinction that has been at the center of some work in educational psychology for a couple of decades now. It is the difference between focusing on how well you’re doing something and focusing on what you’re doing.
  • The two orientations aren’t mutually exclusive, of course, but in practice they feel different and lead to different behaviors.
  • But when we get carried away with results, we wind up, paradoxically, with results that are less than ideal.
  • Unfortunately, common sense is in short supply today because assessment has come to dominate the whole educational process. Worse, the purposes and design of the most common forms of assessment--both within classrooms and across schools--often lead to disastrous consequences.
  • grades, which by their very nature undermine learning. The proper occasion for outrage is not that too many students are getting A’s, but that too many students have been led to believe that getting A’s is the point of going to school.
  • research indicates that the use of traditional letter or number grades is reliably associated with three consequences.
  • Iowa and Comprehensive Tests of Basic Skills,
    • Benjamin Light
      Benjamin Light on 19 Nov 12
       
      I wonder how the MAP test is set?
  • Rob Reynolds on 14 May 11
     
    The message of Daniel Pinks book "Drive" applies here. Paying someone more, i.e. good grades, does not make them better thinkers, problems solvers, or general more motivated in what they are doing. thanks for sharing.
  • Terie Engelbrecht on 27 Jun 11
     
    Excellent summary!
Terry Elliott

Leadership Day - The Pace of Change - Practical Theory - 0 views

practicaltheory.org/...index.php

shared by Terry Elliott on 13 Jul 09 - Cached
  • Terry Elliott on 13 Jul 09
     
    So some thoughts on how to affect change in a timely, and yet, deliberate fashion. * Know why you are changing... and know what you are giving up by making this change. Every change creates winners and losers, so be sure to think through what you gain and what you lose (thanks to Neil Postman for that framework.) which leads to... * Always ask "What is the worst consequence of your best idea?" Do it for two reasons - one, because if you can't live with that consequence, don't do what you planned, but two, because the process of thinking this through will help you (and your team) mitigate the problems and you won't be as surprised when the thing you didn't think of comes up. * Research like crazy. Who has tried what you are doing? Who has tried something close to what you're doing? Who is talking about it? Who is writing about it? Who says the idea is already crazy? There aren't many truly new ideas in education, so figure out the history of your idea and learn from who has come before you. * Get lots of opinions - Come up with a smart, sensible, honest way to explain your idea and then listen. Listen a lot. Listen to the folks who don't like the idea, and ask them why. * Be honest - Don't oversell, don't overpromise, and don't pretend that the idea is perfect. * Build consensus - If only a few people are on-board with the idea, it won't work. But consensus doesn't mean taking something from everyone and sticking it onto the original idea until what you have is the worst of committee-based decisions. It means listening for the truths in what other people are telling you and being willing to make substantive change when it makes sense. * Know when to move forward. Don't let ideas die in committee because the team gets hung up on the final 5% of an idea. * Set realistic expectations for initial success, and then set up a plan to get there. If it's a tech idea -- get the tech right. (Nothing worse than getting everyone excited about a n
  • Terry Elliott on 13 Jul 09
     
    So some thoughts on how to affect change in a timely, and yet, deliberate fashion. * Know why you are changing... and know what you are giving up by making this change. Every change creates winners and losers, so be sure to think through what you gain and what you lose (thanks to Neil Postman for that framework.) which leads to... * Always ask "What is the worst consequence of your best idea?" Do it for two reasons - one, because if you can't live with that consequence, don't do what you planned, but two, because the process of thinking this through will help you (and your team) mitigate the problems and you won't be as surprised when the thing you didn't think of comes up. * Research like crazy. Who has tried what you are doing? Who has tried something close to what you're doing? Who is talking about it? Who is writing about it? Who says the idea is already crazy? There aren't many truly new ideas in education, so figure out the history of your idea and learn from who has come before you. * Get lots of opinions - Come up with a smart, sensible, honest way to explain your idea and then listen. Listen a lot. Listen to the folks who don't like the idea, and ask them why. * Be honest - Don't oversell, don't overpromise, and don't pretend that the idea is perfect. * Build consensus - If only a few people are on-board with the idea, it won't work. But consensus doesn't mean taking something from everyone and sticking it onto the original idea until what you have is the worst of committee-based decisions. It means listening for the truths in what other people are telling you and being willing to make substantive change when it makes sense. * Know when to move forward. Don't let ideas die in committee because the team gets hung up on the final 5% of an idea. * Set realistic expectations for initial success, and then set up a plan to get there. If it's a tech idea -- get the tech right. (Nothing worse than getting everyone excited about a n
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.
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.
pepe1976

Causes of Texas Revolution - 9 views

www.austincc.edu/...causes.html

EDT5372

shared by pepe1976 on 12 Nov 11 - Cached
  • "Many a Cause, Many a Conflict: The Texas Revolution" Introduction Volumes sufficient to fill multiple warehouses have been written about the Texas Revolution of 1836 in the century and a half since it culminated in the seventeen minute Battle of San Jacinto. Few topics have inspired such polarized feelings. Many blame Mexico's loss of her northernmost regions on a conscious premeditated conspiracy of Anglo-Americans in the United States to steal Texas by whatever means possible. This conspiracy, supported by the American government in Washington, D.C., first bore fruit in 1835-36 with the Texas Revolution and culminated ten years later with the Mexican War which resulted in the loss of the present-day states of New Mexico, Colorado, Nevada, Utah, Arizona, and California. At the other end of the continuum are those who blame the Mexican people for the misrule of Texas and the ruthless dictatorship of Santa Anna for provoking a fully justified rebellion by Anglo-Americans and Tejanos. While such extreme positions are far too simplistic to explain the events of 1835-36, they continue to be voiced today - a century and a half after the fact.
  • pepe1976 on 12 Nov 11
     
    Volumes sufficient to fill multiple warehouses have been written about the Texas Revolution of 1836 in the century and a half since it culminated in the seventeen minute Battle of San Jacinto. Few topics have inspired such polarized feelings. Many blame Mexico's loss of her northernmost regions on a conscious premeditated conspiracy of Anglo-Americans in the United States to steal Texas by whatever means possible. This conspiracy, supported by the American government in Washington, D.C., first bore fruit in 1835-36 with the Texas Revolution and culminated ten years later with the Mexican War which resulted in the loss of the present-day states of New Mexico, Colorado, Nevada, Utah, Arizona, and California. At the other end of the continuum are those who blame the Mexican people for the misrule of Texas and the ruthless dictatorship of Santa Anna for provoking a fully justified rebellion by Anglo-Americans and Tejanos. While such extreme positions are far too simplistic to explain the events of 1835-36, they continue to be voiced today - a century and a half after the fact.
meghankelly492

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

journals.sagepub.com/...0305735618765349

anxiety Music

shared by meghankelly492 on 21 Aug 19 - No Cached
  • music performance anxiety (MPA)
  • The concept of “flow”, describing the subjective psychological state in which a person is completely immersed and fully concentrated in an activity which is enjoyable and rewarding, is often associated with optimal functioning
  • Anxiety is generally regarded as having an antithetical relationship with flow
  • ...19 more annotations...
  • The clinical implications of this negative association between MPA and flow suggest that a two-pronged approach focusing on facilitating flow and positive functioning as well as reducing pathological MPA may bring about improvements in the performer’s subjective performing experienc
  • Seligman’s (2011) most recent model of well-being, from the field of positive psychology, understands well-being as comprising five elements: Positive emotion, Engagement, Relationships, Meaning and Achievemen
  • There is a substantial body of Music Performance Anxiety (MPA) research providing evidence that MPA is a debilitating phenomenon (Kenny, 2011) which can affect musicians at any stage of their careers, from highly experienced professional performers (Fishbein, Middlestadt, Ottati, Straus, & Ellis, 1988; Kenny, Driscoll, & Ackerman, 2014) through to child beginners
  • Anxiety is often described as having an antithetical relationship to the experience of flow (Csikszentmihalyi, 1975), and it has been suggested that fostering techniques for facilitating flow may provide a powerful tool for reducing MPA and encouraging optimal performance
  • “when performance anxiety was highest, flow was lowest and vice versa … the presence of one minimises the magnitude of the other” (Fullager et al., 2013, p. 251), and a recent study found evidence of a strong, significant negative association between flow and MPA amongst 200 professional orchestral musicians (Cohen & Bodner, 2018), supporting Kirchner et al.’s (2008) earlier findings with music students
  • Investigations of the efficacy of existing methods for treating MPA indicate that Cognitive Behavioural Therapy based interventions are most effective (for an overview, see Burin & Osorio, 2016).
  • However, evidence suggests that pharmacological methods, particularly beta-blockers, are most commonly used, often in the absence of medical supervision (Cohen & Bodner, 2018; Kenny et al., 2014) and that the subject of MPA is still stigmatised, with many musicians and teachers unwilling to talk openly about it
  • Csikszentmihalyi’s nine dimensions of flow as follows
  • Although there was an increase in flow over time, this was not significant, F(1, 20) = 4.27, p > .05, η2 =.18, and there was no evidence of a significant interaction between group and time, F(1, 20) = 0.56, p > .05, η2 = .03, indicating that the hypothesis that there would be an increase in self-reported levels of flow in the intervention group, was not supported.
  • Figure 4. Judge-rated musical performance quality and signs of performance anxiety in the intervention group.
  • These results support the fourth hypothesis that there would be an increase in judge-rated PQ and a decrease in judge-rated SPA.
  • Results showed evidence of a significant negative association between MPA and flow, and three out of the four study hypotheses were supported: the music performance skills intervention was found to be effective in reducing pre-/post-test MPA in the intervention group compared to the wait-list control group; there were significant improvements in positive and negative affect and state anxiety associated with the performance situation in the intervention group; and there were significant improvements in judge-rated PQ and behavioural signs of performance anxiety. However, there was no significant change in pre-/post-test measures of flow. These findings will now be discussed in more detail.
  • This supports the understanding of MPA as a specific type of anxiety, where the performer suffers from MPA without necessarily being generally anxious or impaired in any other areas of his/her life (Clark & Williamon, 2011; Hoffman & Hanrahan, 2011) and corresponds to Kenny’s (2011) description of the first and most mild of three types of MPA (for full coverage of this issue, see Kenny, 2011).
  • Thus, the absence in improvement in levels of flow in the current study could also be due to the low average hours of daily practice reported
  • The increases in participants’ positive affect and decreases in negative affect after the second simulated performance compared to the first indicate that the intervention was effective in facilitating positive emotion, the first component of Seligman’s (2011) PERMA model of well-being
  • Evidence of improvements in judge-rated performance quality indicate that the intervention was also effective in facilitating the fifth (Achievement) component of the PERMA model.
  • “Ironically, it may be that the last people to receive some benefit from the therapeutic value of music may be the musicians themselves” (Brodsky, 1996, p. 95).
  • Hopefully, such an approach will enable developing musicians to acquire the skills necessary to enjoy satisfying, successful and healthy lives as performing musicians, in which the threat of debilitating MPA and the need to recourse to beta-blockers are a thing of the past.
  • Cohen, S., & Bodner, E. (2019). Music performance skills: A two-pronged approach – facilitating optimal music performance and reducing music performance anxiety. Psychology of Music, 47(4), 521–538. https://doi.org/10.1177/0305735618765349
taconi12

fractions idea bank - 141 views

www.mathcats.com/...ideabankfractions.html

math fractions reference lessonplans games

shared by taconi12 on 10 Mar 12 - Cached
  • Fractions are as easy as pigs
  • One way to help students to understand the basics of adding and subtracting fractions (denominators must be the same; add/subtract the numerators; DO NOT add/subtract the denominators) is to teach the students what the parts of a fraction really are: numbers and names. This also helps combat the frequently-taught but incorrect idea that a fraction and a ratio are the same. A ratio may look like a fraction, but it is not a fraction.
  • FRACTIONS ARE AS EASY AS PIGS What is 2 pigs plus 3 pigs? 5 pigs (Write as a fraction: 2/pigs + 3/pigs = 5/pigs) Notice, we do not end up saying the answer is 5 horses.
  • ...10 more annotations...
  • The top of a fraction is a NUMBER: 1, 2, 3, etc. The bottom of a fraction is a NAME: half, third, fourth, etc. We can add and subtract numbers. We cannot add and subtract names.
  • Fraction Blackjack
  • Ask each student their "denominator." Don't give it away. Ask each one until one finally says their name. Continue through the room... Their name is their denominator. When you practice adding and subtracting fractions with like denominators, actually say "pigs" instead the fraction name. Then say, "Instead of pigs, we are using ..." and let them answer with the appropriate denominator. It is fun when doing subtraction to say, "If we have 5 pigs and eat 3 pigs, besides a stomachache, what is left?"
  • The transition to unlike denominators is automatic. If the names are not the same, you can't add the fractions. 2/pigs + 3 horses is still 2/pigs and 3/horses (unless we discover a "common denominator" -- a common name: farm animals). Once the students know they must have a common name (denominator) in order to add or subtract, they have a reason to learn about common denominators. By the way, I always begin common denominators without worrying about the Least Common Denominator (LCD). Once they can find a common denominator (multiply the denominators), add or subtract, and then reduce, they can be led to finding "easier" denominators to work with. Students who have too much difficulty with LCD can still get the correct answer; they just have more reducing to do. Those who can find a lower common denominator have less reducing. This is a very basic rendering of "Fractions are as easy as pigs." AWP, 10/12/00 on teachers.net math board
  • Denominate means: to name Political parties nominate (name) their candidates. Religious denominations are identified by their names. The denominations of money are the names of the coins and bills.
  • One game that my students enjoy the challenge of is Blackjack 1. You need a set of fraction cards per student (or you can make them from index cards.) The same rules as Blackjack apply. Instead of trying to get to 21, they want to try and get close to 1 without going over. With this game they practice addition and comparing -- it's great. You can also make it more challenging or bring in mixed numbers with Blackjack 2 or Blackjack 3. (Blackjack 2 means to try to get as close to 2 as possible without going over.) I am not sure where to buy fraction cards. I have one set that I received when I took over a classroom. However, I have always had the students create their own sets and we used them for several games. I gave each students a set of index cards (3 1/2 X 5) and they wrote the fractions in pencil so they couldn't be seen through the cards. These are the fractions we included: all fractions with a denominator of 2, 3, 4, 5, 6, 8, 10, and 12. (To challenge the students you may want to use the 7, 9, and 11 denominators as well.) I also had the students include 2 0's such as 0/3 and 0/4 and two 1's such as 3/3 and 4/4. Each game required two sets of cards, so I had the students write their initials in the corner of their set so they would get a complete set back after the game.
  • games
  • I remembered some
  • other
  • Fraction War Fraction War with the fraction cards: It is just like the card game of War, but with the fraction cards instead. This game helps students to compare fractions and encourages them to use number sense in comparison before using the algorithm of making equivalent fractions. Memory Memory with the fraction cards: It is just like the traditional "Memory" game, but any equivalent fractions are considered a match so 1/2 would be a match with 2/4. This game helps them to identify equivalent fractions. You can also play this game with fraction to decimal equivalence by making a set of decimal cards too. Fraction/Decimal Bingo Fraction/Decimal Bingo: The students have game boards with decimals on them. You call out fractions and if they have the decimal equivalence they can mark it on the board. Kimberly, 5/31 and 6/1 on teachers.net math board
Paul Beaufait

The purpose of aggregating bookmarks for the Diigo in Education group - 143 views

As somewhat of a Johnny-come-lately to this group, since hearing of new Diigo outline functionality AND planned deprecation of Diigo lists, I believed this group would focus on the transition in Di...

aggregations Diigo education groups purposes moderation noise-to-signal signal-to-noise tools

started by Paul Beaufait on 23 Mar 15 7 follow-ups, last by Paul Beaufait on 06 Apr 15
Marti Pike

RTI Talks | RTI for Gifted Students - 9 views

rtinetwork.org/...24

shared by Marti Pike on 02 Aug 17 - No Cached
  • learning contracts with the student focused on work that takes the students interests in to account may be helpful.
    • Marti Pike
      Marti Pike on 02 Aug 17
       
      Genius Hour
  • "Up from Underachievement" by Diane Heacox
  • Gifted learners are rarely "globally gifted
  • ...59 more annotations...
  • From a parent's perspective (and sometimes from the child's), this can seem like we are "de-gifted" the child.
  • The most important thing is that you have the "data" that shows what the student needs and that you are matching this with an appropriate service.
  • Be very explicit with what the differentiation is and how it is addressing the needs
  • A major shift with RTI is that there is less emphasis on the "label" and more on the provision of appropriate service.
  • When a child has met all the expected benchmarks
  • independent reading
  • reading log
  • small group for discussions using similar questions.
  • long-term solutions might include forming a seminar group using a
  • program like "Junior Great Books."
  • Ideas for differentiating reading for young children can also be found at: http://www.k8accesscenter.org/training_resources/readingdifferentiation.asp http://www.appomattox.k12.va.us/acps/attachments/6_6_12_dan_mulligan_handout.pdf
  • enrich potential
  • to plan appropriate instruction, based on data that show the learners' needs.
  • additional enrichment and challenge in their area(s) strength.
  • Tiers 2 or 3
  • As the intensity of the needs increase, the intensity of the services also increases.
  • our ability to nurture potential in students prior to formal identification
  • appropriately scaffolded activities through Tier 2 support.
  • , with high-end differentiation and expectations, we are able to support the development of potential in all students.
  • This body-of-evidence can be used to support the nomination process and formal identification when appropriate.
  • likely to be of particular benefit for culturally and linguistically diverse, economically disadvantaged, and twice exceptional youngsters who are currently underrepresented within gifted education.
  • Tier 1 include:
  • Tier 2 include:
  • Tier 3 include:
  • universal screening
  • Aspergers
  • gifted children with learning disabilities?
  • If we provide enrichment activities for our advanced students, won't that just increase the acheivement gap?
    • Marti Pike
      Marti Pike on 02 Aug 17
       
      Grrrrrrrrr
  • Educational opportunities are not a “zero sum” game where some students gain and others lose.
  • the needs of all learners.
  • One is focusing on remediation, however the second approach focuses on the nurturing of potential through creating expectations for excellence that permeate Tier 1 with extended opportunities for enrichment for all children who need them at Tier 2. With the focus on excellence, the rising tide will help all students reach their potential. This is the goal of education.
  • make sure that the screener is directly related to the curriculum that you are using and that it has a high enough ceiling to allow advance learners to show what they know.
  • recognizing that students who are above grade level, or advanced in their academics, also need support to thrive
  • all students deserve to attend a school where their learning needs are met
  • seek out ways to build the knowledge and skills of teachers to address the range of needs
  • This includes learning about differentiated instruction within Tier 1and creating additional opportunities for enhancements and enrichments within Tier 2.
  • first
  • This often means that the district views the school as a “high-needs” school and does feel that many children would qualify for gifted education services (thus no teacher allocation is warranted). If this is the case, then this is a problematic view as it perpetuates the myth that some groups of children are not likely to be “gifted”.
  • These five differentiation strategies are as follows: Curriculum Compacting (pre-assessment of learners to see what they know)  The use of Tiered Assignments that address: Mastery, Enrichment, and Challenge  Tiered Learning Centers that allow children to further explore skills and concepts  Independent and Small group learning contracts that allow students to follow area of interest  Questioning for Higher Level thinking to stretch the minds of each child.
  • RTI was,
  • first proposed as a way to help us better identify students who continue to need additional support in spite of having appropriate instructional opportunities to learn.
  • The primary issue is the need for measures of potential as well as performance.
  • an IQ measure
  • portfolio
  • that sometimes occur outside of school
  • children with complex sets of strengths and needs require a comprehensive evaluation that includes multiple types, sources, and time periods to create the most accurate and complete understanding of their educational needs.
  • a "diamond" shaped RTI model
  • confusing
  • use the same icon to represent how we address the increasing intensity of academic and behavioral needs for all learners.
  • English Language Learners?
  • Differentiated instruction is part of a strength-based approach to Tier 1, providing enriched and challenging learning opportunities for all students. However, a comprehensive RTI approach for gifted learners will also need strong Tier 2 and 3 supports and services.
  • Tracking, or the fixed stratification of children into learning levels based on limited data (placing children in fixed learning groups based on a single reading score), is the opposite of RTI.
  • off grade level trajectories
  • this may includ
  • assess the slope and speed of learning and plot the target from there.
  • content acceleration and content enrichment.
  • independent or small group project of their choice.
  • renzullilearning.com.
  • additional learning opportunities that both challenge the learner and address high interest learning topics.
jnet0124

Can Mary Shelley's Frankenstein be read as an early research ethics text? | Medical Hum... - 7 views

mh.bmj.com/32

shared by jnet0124 on 13 Nov 17 - No Cached
  • Can Mary Shelley’s Frankenstein be read as an early research ethics text?
    • jnet0124
      jnet0124 on 13 Nov 17
       
      SEE HEAR
  • Frankenstein is an early and balanced text on the ethics of research upon human subjects and that it provides insights that are as valid today as when the novel was written.
  • Mary Shelley conceived the idea for and started writing Frankenstein in 1816 and it was first published in 1818.1 In its historical context, the earlier 17th and 18th centuries had seen the early signs of the rise of science and experimentation. Francis Bacon (1561–1626) had laid the theoretical foundations in his “Great Insauration”2 and scientists such as Boyle, Newton, and Hooke developed the experimental methods. Sir Robert Talbor, a 17th century apothecary and one of the key figures in developing the use of quinine to treat fevers, underlined this: “the most plausible reasons unless backed by some demonstrable experiments seem but suppositions or conjectures”.3
  • ...5 more annotations...
  • The 18th century saw the continued construction of foundations upon which all subsequent medical experimentation has been built.
  • Lady Mary Montagu promoted smallpox vaccination; its proponents experimented on prisoners to study its efficacy, and James Jurin, the secretary of the Royal Society, developed mathematical proof of this in the face of ecclesiastical opposition.4 Many of the modern concepts of therapeutic trials were described although not widely accepted. Empirical observation through experimentation was starting to be recognised as the tool that allowed ascertainment of fact and truth. An account of Dr Bianchini’s experiments on “Le Medicin Electrique”, reported to the Royal Society explains that “The experiments were made by Dr Bianchini assisted by several curious and learned men … who not being able to separate what was true … determined to be guided by their own experiments and it was by this most troublesome though of all the others the most sure way, that they have learned to reject a great number of what have been published as facts.”5
  • Similarly, Henry Baker’s report to the Royal Society, describing Abbe Nollet’s experiments, outlined the need for comparative studies and that “treatment should not be condemned without a fair trial”6 and a Belgian doctor, Professor Lambergen, describing the use of deadly nightshade for the treatment of breast cancer wrote “Administration of this plant certainly merits the attention of the medical profession; and surely one may add entitles the medicine to future trials … nevertheless the most efficacious medicines are such if its efficacy by repeated trials be approved.”7 In the mid 18th century James Lind conducted the first controlled trial to establish a cure for scurvy and his Treatise on the Scurvy contains what could be seen in modern terminology as the first “review of the current literature” prior to a clinical trial.8
  • Her motives for writing Frankenstein are more difficult to define. In her introduction to the 1831 edition she writes that she wanted her work to … speak to the mysterious fears of our nature and awaken thrilling horror—one to make the reader dread to look round. If I did not accomplish these things, my ghost story would be unworthy of its name … (p 7, p 8)
  • The 1818 preface, written by Percy Bysshe Shelley, indicates a deeper purpose. He wrote that the story recommends itself as it “…affords a point of view on the imagination for the delineating of human passions more comprehensive and commanding than any which the ordinary relations of existing events can yield…” (p 11) and that “…I am by no means indifferent to the manner in which ... moral tendencies (that) exist in the sentiments of characters shall affect the reader…”(p 12).
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