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Noelle Kreider

Educational Leadership:Reading to Learn:Can't Get Kids to Read? Make It Social - 45 views

www.ascd.org/...Read%C2%A2_Make_It_Social.aspx

diigo reading socialbookmarking

shared by Noelle Kreider on 22 Mar 10 - Cached
  • "How can we possibly teach reading when our kids just won't read?"
  • classrooms are one of the only text-driven environments that our students experience. Beyond school, U.S. students spend most of their time with media consuming digital information from televisions, radios, and computers. Much of this electronic information is visual or is processed passively, in small bites.
  • So how can you drag the wayward brains in your classroom back to deeper reading? Begin by recognizing that today's students are driven by opportunities to interact with one another. Conversations—whether they are started on Facebook, through text messages, or in the hallways—play a central role in adolescents' lives. Understanding that participation is a priority, the best teachers create social reading experiences and blur lines between fun and work.
  • ...4 more annotations...
  • One great tool for creating social reading experiences is Diigo
  • Social bookmarking applications like Diigo help my classes explore interesting texts and get students reading actively. As students highlight parts of the text they find compelling and add comments in onscreen threaded discussions, they challenge the thinking of their peers and even of the author.
  • To structure substantial conversations instead of reactive chatter, I defined five specific roles (listed in the Shared Annotation Roles section of the Digitally Speaking site referenced above) for students working in shared annotation groups.
  • Tools such as Diigo are fundamentally changing the reading experience—and effective teachers must adapt to keep their students engaged.
  • Noelle Kreider on 22 Mar 10
     
    article about using Diigo to engage students in reading
Bob Rowan

Steve Hargadon: Thoughts on Social Networking in Education - 46 views

www.stevehargadon.com/...s-on-social-networking-in.html

social networking education classroom20

shared by Bob Rowan on 02 Mar 11 - Cached
  • the act of blogging, and becoming a part of the blogging conversation, were important for teacher professional growth
  • blog "to the empty room" for 9 months
  • It would take away the personal benefit of the journeys that they had been on to get where they were
  • ...8 more annotations...
  • "I don't know anyone here."
  • threaded discussion forum
  • On a blog, the main author is on a pedestal, and blogs tend to favor posts which reflect the self-importance of the blogger or comments which tend toward extremism
  • What makes social networking for professional development so powerfu
  • not geographically or physically bounded
  • takes place 24X7
  • llows for asynchronous contribution
  • contribution by those who would never previously have written an article for a journal or made a formal presentation
  • Bob Rowan on 02 Mar 11
     
    Comments on the founding of Classroom 2.0 and how teachers who were not previously participating in online social networking were more comfortable using the Classroom 2.0 site than maintaining and otherwise participating in blogs
  • Bob Calder on 03 Mar 11
     
    NSDL recently underwent a reorganization into discipline subsections with intense work by degree candidates. One of them from WCU was denied credit for work and publication because there were no page numbers. The head of the project called her advisor and fixed the problem, but they rethought the model and added separate online journals for contributors. At this point, the chemistry portal is a model of how the whole thing should turn out. http://chemdl.org It has moodle modules, a textbook, lessons, virtual labs. I will link to a google spreadsheet with all URIs in a few days. Right now my kids are putting it together. ;-) Bob
Liz Peters

Types of Sewing Stitches - 66 views

diyfashion.about.com/...Types-Of-Sewing-Stitches.htm

sewing straitght stitch

shared by Liz Peters on 26 Sep 11 - No Cached
  • Liz Peters on 26 Sep 11
     
    When I was little, I thought that sewing was all about not tangling the thread. Now I've come to learn that different kinds of stitches have their own purpose, and can make or break a project. Here is a list of common stitches and how to make them.
Tamara Connors

Digitally Speaking / Social Bookmarking and Annotating - 58 views

digitallyspeaking.pbworks.com/ial-Bookmarking-and-Annotating

diigo web-2.0 wiki list resource

shared by Tamara Connors on 13 Oct 09 - Cached
  • Diigo's "group forums" are threaded, allowing users to start new strands or to reply to strands started by others.
  • powerful learning depends on the quality of the conversation that develops around the content being studied together. 
  • This handout--including a description of each role and a group sign-up sheet---can be used with student social bookmarking efforts: Handout_SocialBookmarkingRoles.pdf
  • ...5 more annotations...
  • Captain Cannonball should find four or five key points in a shared reading to highlight and craft initial questions for other readers to consider
  • hallenging the thinking of peers in the conversation.  Directly responding to comments made by others, the Provocateur works to remind everyone that there are two sides to every story.    
  • for connections.  Middle Men
  • question statements made and conclusions drawn throughout a shared reading.
  • dentify important "takeaways" that a group can learn from
  • Todd Finley on 19 Oct 09
     
    Fred, What an incredible resource. It has changed my thinking about collaborative annotation technologies. Thank you! -tbf Todd Finley http://bit.ly/Hfs8N
  • Jason Welker on 28 Oct 09
     
    The driving force behind the Web 2.0 revolution is a spirit of intellectual philanthropy and collective intelligence that is made possible by new technologies for communication, collaboration and information management.  One of the best examples of collective intelligence in action are the wide range of social bookmarking applications that have been embraced in recent years.
maureen greenbaum

The Problem of "Pedagogy" in a Web 2.0 Era -- Campus Technology - 1 views

campustechnology.com/...Pedagogy-in-a-Web-2.0-Era.aspx

pedagogy

shared by maureen greenbaum on 23 Jun 11 - No Cached
  • Google search of the term “situated cognition”. Situated cognition, and related research threads, seems to me a useful concept for beginning to understand the tendencies of information technology for teaching and learning.
  • And this is after decades of the movement called “The Scholarship of Teaching and Learning” (see http://www.issotl.org/--and note, the next ISSOTL conference is in Milwaukee October 20-22, 2011). The Association of American Colleges and Universities as well offers sessions and conversations related to the turn to learning--the next AAC&U conference is in Washington, DC, January 25-28, 2012.
  • With this issue of Web 2.0, we end the run of this newsletter.
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
mz1388

Unity Multiplayer - UNET seems fine? | Unity Community - 1 views

forum.unity.com/...unet-seems-fine.427415

shared by mz1388 on 08 Dec 17 - No Cached
  • t with UNET's lag, network prediction, Interpolation, etc. However, when I play this:
  • became apperant UNET would just simple not be able to handle the load my project needs.
Paul Beaufait

The purpose of aggregating bookmarks for the Diigo in Education group - 144 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
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