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Judy Imus

My Library - 2 views

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    World History - Enlightened thinkers
Chris Sloan

Journal of Media Literacy Education - 47 views

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    The Journal of Media Literacy Education is an online interdisciplinary journal that supports the development of research, scholarship and the pedagogy of media literacy education. The journal provides a forum for established and emerging scholars, media professionals and educational practitioners in and out of schools. As an extended conceptualization of literacy, media literacy education helps individuals of all ages develop habits of inquiry and skills of expression needed to become critical thinkers, effective communicators and active citizens in a world where mass media, popular culture and digital technologies play an important role for individuals and society. The Journal of Media Literacy Education is sponsored by the National Association for Media Literacy Education (NAMLE). Visit NAMLE at www.namle.net
Carla Shinn

BBC - Future - Tomorrow's World - 3 views

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    Predictions for the next ten, 50, and 100 years by thinkers, scientists and pundits, and the odds on them happening.
Ed Webb

Bad News : CJR - 30 views

  • Students in Howard Rheingold’s journalism class at Stanford recently teamed up with NewsTrust, a nonprofit Web site that enables people to review and rate news articles for their level of quality, in a search for lousy journalism.
  • the News Hunt is a way of getting young journalists to critically examine the work of professionals. For Rheingold, an influential writer and thinker about the online world and the man credited with coining the phrase “virtual community,” it’s all about teaching them “crap detection.”
  • last year Rheingold wrote an important essay about the topic for the San Francisco Chronicle’s Web site
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  • What’s at stake is no less than the quality of the information available in our society, and our collective ability to evaluate its accuracy and value. “Are we going to have a world filled with people who pass along urban legends and hoaxes?” Rheingold said, “or are people going to educate themselves about these tools [for crap detection] so we will have collective intelligence instead of misinformation, spam, urban legends, and hoaxes?”
  • I previously called fact-checking “one of the great American pastimes of the Internet age.” But, as Rheingold noted, the opposite is also true: the manufacture and promotion of bullshit is endemic. One couldn’t exist without the other. That makes Rheingold’s essay, his recent experiment with NewsTrust, and his wiki of online critical-thinking tools” essential reading for journalists. (He’s also writing a book about this topic.)
  • I believe if we want kids to succeed online, the biggest danger is not porn or predators—the biggest danger is them not being able to distinguish truth from carefully manufactured misinformation or bullshit
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    As relevant to general education as to journalism training
meghankelly492

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

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

Kentucky Department of Education : Attributes of a Standards Based Unit of Study - 0 views

  • Proposes essential questions that address selected content strands, promote students' thinking, result in active application of learning, and draw attention to the relevance of learning in students' lives
  • Contains authentic assessments that include appropriate writing tasks (i.e., open response, on-demand, and portfolio-appropriate writing tasks) that reflect the identified content and performance standards and essential questions
  • eal-world understanding and lifelong application of learning incl
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  • inquiry and problem-based learning activities a
  • creative thinker, problem-solver/generator,
  • academic/physical/social/emotional needs
  • culturally relevant resources
  • ifferent cultural perspectives
  • technology
  • variety of assessment options
Roland Gesthuizen

It's the End of an Era - Enter the Knowledgeable Networker - Forbes - 26 views

  • Knowledgeable networkers are very good at what they do, and at the same time, do not pretend to know it all. They consider the entire puzzle, not just their own area of expertise. They’re integrative thinkers with broad interests and connections. They see how puzzle pieces fit together without needing to know everything about each piece
  • They have instant access to multiple knowledge workers via a phone call, email, Twitter post, or LinkedIn InMail. They can bring experts and expertise into a team, a department, or organization to fulfill a specific need or help seize an opportunity.
  • The knowledgeable networker can also seek out, find, assimilate, and translate useful information into workable solutions.
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  • In a faster-and-faster moving world, the ability to tap your team members’ or former colleagues’ networks to bring expertise to a situation and then set it free, will allow your organization to be faster, more nimble, and more capable than ever before.
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    "My colleague Ken Perlman is fascinated by the employee and team dynamics within large organizations. Here he shares the type of skills and sensibilities that he has observed in the most efficient workers."
webExplorations

Rupert Murdoch - Education: The Last Frontier - 50 views

  • We must begin by exciting the imaginations of our young people.
  • my second point: more personalized learnin
  • Finally, with digital we can bring the world’s greatest thinkers to every student, anywhere in the world, at a very low cost.
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  • Outside the classroom, digital has already done this. Not so very long ago, you had to be rich to hear the best opera or symphony. Now you can now download the world’s best recording of your favourite Mozart concerto for about a dollar.
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    Well-presented examples of how we can break out of the "all the seats in a row" mentality using the tools available today.
Nathan Hopson

Thoreau - Walking - Webtext - 41 views

  • When I go out of the house for a walk, uncertain as yet whither I will bend my steps, and submit myself to my instinct to decide for me, I find, strange and whimsical as it may seem, that I finally and inevitably settle south-west, toward some particular wood or meadow or deserted pasture or hill in that direction. My needle is slow to settle—varies a few degrees, and does not always point due south-west, it is true, and it has good authority for this variation, but it always settles between west and south-south-west. The future lies that way to me, and the earth seems more unexhausted and richer on that side. The outline which would bound my walks, would be, not a circle, but a parabola, or rather like one of those cometary orbits, which have been thought to be non-returning curves, in this case opening westward, in which my house occupies the place of the sun. I turn round and round irresolute sometimes for a quarter of an hour, until I decide for the thousandth time, that I will walk into the south-west or west. Eastward I go only by force; but westward I go free.
    • Nathan Hopson
       
      West = new + free, East = old + constrained Not a reference to world history, but to the American context (West = frontier). The Americas were the West (to Europe) and the West was America (as Turner/Billington argue).
  • I must walk toward Oregon, and not toward Europe. And that way the nation is moving, and I may say that mankind progress from east to west.
    • Nathan Hopson
       
      See above...
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