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Kimberly LaPrairie

picturing the thirties - 2 views

americanart.si.edu/...index.html

history virtual social_studies smithsonian museum EED427 photos video virtual worlds

shared by Kimberly LaPrairie on 23 Sep 09 - Cached
  • Kimberly LaPrairie on 23 Sep 09
     
    "Picturing the 1930s," a new educational web site created by the Smithsonian American Art Museum in collaboration with the University of Virginia, allows teachers and students to explore the 1930s through paintings, artist memorabilia, historical documents, newsreels, period photographs, music, and video. Using PrimaryAccess, a web-based teaching tool developed at the university's Curry Center for Technology and Teacher Education, visitors can select images, write text, and record narration in the style of a documentary filmmaker. They can then screen their video in a virtual theater. PrimaryAccess is the first online tool that allows students to combine their own text, historical images from primary sources, and audio narration to create short online documentary films linked to social studies standards of learning, said Glen Bull, co-director of the Curry Center. Since the first version was developed in collaboration with U.Va.'s Center for Digital History and piloted in a local elementary school in 2005, more than 9,000 users worldwide have created more than 20,000 short movies. In creating digital documentaries, students embed facts and events in a narrative context that can enhance their retention and understanding of the material, said Curry research scientist Bill Ferster, who developed the application with Bull. Besides increasing their knowledge about the period, "Picturing the 1930s" enhances students' visual literacy skills, Ferster noted, adding that PrimaryAccess "offers teachers another tool to bring history alive."
H DeWaard

5 Reasons Why Origami Improves Students' Skills | Edutopia - 59 views

www.edutopia.org/...tudents-skills-ainissa-ramirez

origami STEAM edutopia skills STEM math makerspace

shared by H DeWaard on 22 Aug 15 - No Cached
  • origami
  • This art form engages students and sneakily enhances their skills -- including improved spatial perception and logical and sequential thinking.
  • Here are some ways that origami can be used in your classroom to improve a range of skills:
  • ...14 more annotations...
  • Geometry
  • According to the National Center for Education Statistics in 2003, geometry was one area of weakness among American students.
  • Origami has been found to strengthen an understanding of geometric concepts, formulas, and labels, making them come alive.
  • Thinking Skills
  • Origami excites other modalities of learning. It has been shown to improve spatial visualization skills using hands-on learning.
  • Fractions
  • Folding paper can demonstrate the fractions in a tactile way.
  • Problem Solving
  • Often in assignments, there is one set answer and one way to get there. Origami provides children an opportunity to solve something that isn't prescribed and gives them a chance to make friends with failure (i.e. trial and error).
  • Origami is a fun way to explain physics concepts. A thin piece of paper is not very strong, but if you fold it like an accordion it will be.
  • Researchers have found that students who use origami in math perform better.
  • STEAM
  • While schools are still catching up to the idea of origami as a STEAM engine (the merging of these disciplines), origami is already being used to solve tough problems in technology.
  • Additionally, the National Science Foundation, one of the government's largest funding agencies, has supported a few programs that link engineers with artists to use origami in designs. The ideas range from medical forceps to foldable plastic solar panels.
  • H DeWaard on 26 Aug 15
     
    Origami, the ancient art of paper folding, has applications in the modern-day classroom for teaching geometry, thinking skills, fractions, problem solving, and fun science.
donnatmachado

Anopheles gambiae (mosquito) heart (100x) image - Nikon's 25 Top Microscopic Photos of 2010 (photos) - CNET News - 60 views

news.cnet.com/2300-11386_3-10005226.html

Teaching Resources Science Visual Arts

shared by donnatmachado on 18 Oct 10 - No Cached
  • donnatmachado on 18 Oct 10
     
    As a convergence of art and science in the natural world, few things can summon a sense of wonderment like Nikon's Small World photomicrography competition.
Jac Londe

Brain-Art Competition 2011 - 37 views

neurobureau.projects.nitrc.org/...Competition.html

brain cervo cerveau onde

shared by Jac Londe on 26 Jul 11 - No Cached
  • The Brain-Art Competition
  • In order to recognize the beauty and creativity of artistic renderings emerging from the neuroimaging community, we are launching the first annual Brain-Art Competition. Countless hours are devoted to creation of informative visualizations for communicating neuroscientific findings. This competition aims to recognize the artistic creativity of our community that often goes unappreciated in the publication process.
  • We are inviting researchers to submit their favorite unpublished works for entry.  Both team and single-person entries are welcomed. The competition will have four award categories: 1)Best 3-Dimensional Brain Rendering 2)Best Representation of the Human Connectome 3)Best Abstract Brain Illustration 4)Best Humorous Brain Illustration
Jac Londe

WikiPaintings.org - the encyclopedia of painting - 6 views

www.wikipaintings.org

shared by Jac Londe on 14 May 12 - No Cached
    • Jac Londe
      Jac Londe on 14 May 12
       
      Art Visuel - Visual Art - A wiki site about paintings - Un site Wiki sur la peinture
ivan alba

Processing.org - 0 views

processing.org

visualization graphics arte educación

shared by ivan alba on 09 Aug 12 - Cached
  • ivan alba on 09 Aug 12
     
    "e"
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.
tom campbell

The Creativity Crisis - 62 views

www.newsweek.com/...e-creativity-crisis.print.html

creativity

shared by tom campbell on 03 Dec 10 - Cached
  • Another is the lack of creativity development in our schools.
  • Researchers say creativity should be taken out of the art room and put into homeroom. 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. Scholars argue that current curriculum standards can still be met, if taught in a different way.
  • A fine example of this emerged in January of this year, with release of a study by University of Western Ontario neuroscientist Daniel Ansari and Harvard’s Aaron Berkowitz, who studies music cognition. They put Dartmouth music majors and nonmusicians in an fMRI scanner, giving participants a one-handed fiber-optic keyboard to play melodies on. Sometimes melodies were rehearsed; other times they were creatively improvised. During improvisation, the highly trained music majors used their brains in a way the nonmusicians could not: they deactivated their right-temporoparietal junction. Normally, the r-TPJ reads incoming stimuli, sorting the stream for relevance. By turning that off, the musicians blocked out all distraction. They hit an extra gear of concentration, allowing them to work with the notes and create music spontaneously. Charles Limb of Johns Hopkins has found a similar pattern with jazz musicians, and Austrian researchers observed it with professional dancers visualizing an improvised dance. Ansari and Berkowitz now believe the same is true for orators, comedians, and athletes improvising in games.
  • tom campbell on 03 Dec 10
     
    bring on the improv!
George Hess

Using Music to Close the Academic Gap - Lori Miller Kase - The Atlantic - 73 views

www.theatlantic.com/...280362

shared by George Hess on 13 Oct 13 - No Cached
  • George Hess on 13 Oct 13
     
    Why isn't music in the Common Core
  • Bob Calder on 14 Oct 13
     
    Research demonstrates that music doesn't help as such. The same effect can be got from any discipline where practice and persistence are important. The musical component can be duplicated with explicit phonemic instruction in a short time. You would be better off drawing because it is the only non-academic that has a direct academic relationship - with geometry. The evidence for that has to do with the above, plus junction recognition and visualization. The only thing I didn't touch on is openness to new experience which has a strong correlation to measured intelligence. That's a component of the arts in general.
  • George Hess on 15 Oct 13
     
    I'm aware of the studies and also of the garbage science like the "Mozart Effect." While they don't support the correlation, they are also not definitive. This appears to be a valid study and it is working. Whether the reasons are because they learn practice and persistence or something else is irrelevant, a correlation still exists. Maybe it's just that music is fun and the way we learn music--practice, reflect, refine, repeat--is a good model for learning in general. It's certainly better than standardized tests. Personally, I don't feel a need to justify music's existence by its value to other subjects. It represents some of humanity's greatest achievements. That should be enough.
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