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Frederick Eberhardt

Powerful Learning: Studies Show Deep Understanding Derives from Collaborative Methods | Edutopia - 85 views

  • In essence, students must learn how to learn, while responding to endlessly changing technologies and social, economic, and global conditions.
  • students learn more deeply if they have engaged in activities that require applying classroom-gathered knowledge to real-world problems.
  • developing inquiring minds
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  • Studies of problem-based learning suggest that it is comparable, though not always superior, to more traditional instruction in teaching facts and information. However, this approach has been found to be better in supporting flexible problem solving, reasoning skills, and generating accurate hypotheses and coherent explanations.
  • design challenges need to be carefully planned, and they emphasized the importance of dynamic feedback.
  • When students have no prior experience with inquiry learning, they can have difficulty generating meaningful driving questions and logical arguments and may lack background knowledge to make sense of the inquiry.
    • Adrienne Michetti
       
      Absolutely true. I discovered this when I used inquiry-based methods with my students in Qatar who were used to rote learning. They truly did not know where to start. They first needed to learn *how* to be inquisitive.
  • Requiring students to track and defend their thinking focused them on learning and connecting concepts in their design work
  • All the research arrives at the same conclusion: There are significant benefits for students who work together on learning activities.
  • groups outperform individuals on learning tasks and that individuals who work in groups do better on later individual assessments.
  • In successful group learning, teachers pay careful attention to the work process and interaction among students.
  • "It is not enough to simply tell students to work together. They must have a reason to take one another's achievement seriously.
  • She and her colleagues developed Complex Instruction, one of the best-known approaches, which uses carefully designed activities requiring diverse talents and interdependence among group members.
    • Adrienne Michetti
       
      Interesting... worth checking out.
  • They require changes in curriculum, instruction, and assessment practices -- changes that are often new for teachers and students.
  •  
    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
  •  
    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
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    Vocational Education meets Research in the dynamic classroom of Linda Darling-Hammond, 2008. The students are doing the research, teaching and learning. They control their own destiny and they are taking the world by storm! They are not waiting to be taught, they are teaching each other and themselves as teams of researchers. Darling-Hammond, L. (2008). Powerful learning: what we know about teaching for understanding. San Francisco, CA: Jossey-Bass.
dabennett7

Homage or Theft? A Closer Look at the 'Blurred Lines' Verdict - Law Blog - WSJ - 18 views

  • A federal jury in Los Angeles on Tuesday ordered singers Robin Thicke and Pharrell Williams to pay about $7.4 million to the family of Marvin Gaye, after finding the duo’s 2013 hit song “Blurred Lines” copied parts of Mr. Gaye’s “Got to Give it Up.”
    • dabennett7
       
      Attribution and intellectual property are a real concern for everyone. Remixing ideas is not a new practice, but in the 21st century it is easier than ever. How do we help prepare our students for careers in the 21st century?
  • only to compare “Blurred Lines” to the sheet music composition of “Got to Give it Up.” So the jury only heard a stripped down version of Mr. Gaye’s song, with his lyrics over a bass line and keyboards.
    • dabennett7
       
      Attribution and intellectual property are a real concern for everyone. Remixing ideas is not a new practice, but in the 21st century it is easier than ever. How do we help prepare our students for careers in the 21st century?
  • substantial copying
    • dabennett7
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
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  • Use extreme caution when referencing your forebears in song (without first getting permission, of course)
    • dabennett7
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
  • It will cause people who want to want to evoke the past to perhaps refrain from doing so
    • dabennett7
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
  • a step backward
    • dabennett7
       
      From the arts to science, remixing and building upon the ideas of those who came before you is not new. In fact, it is a necessary practice that feeds the progress of our world.  Now musicians are haunted by this ghost of copyright. How can we develop and model practices for our students that celebrate the history of attribution and the growth of ideas? Can we elevate the student dreaded practices of citation and attribution to an act of reverence and respect?
Amy Roediger

Reading Strategies for 'Informational Text' - NYTimes.com - 172 views

  • Four Corners and Anticipation Guides:Both of these techniques “activate schema” by asking students to react in some way to a series of controversial statements about a topic they are about to study. In Four Corners, students move around the room to show their degree of agreement or disagreement with various statements — about, for instance, the health risks of tanning, or the purpose of college, or dystopian teen literature. An anticipation guide does the same thing, though generally students simply react in writing to a list of statements on a handout. In this warm-up to a lesson on some of the controversies currently raging over school reform, students can use the statements we provide in either of these ways.
  • Gallery Walks:A rich way to build background on a topic at the beginning of a unit (or showcase learning at the end), Gallery Walks for this purpose are usually teacher-created collections of images, articles, maps, quotations, graphs and other written and visual texts that can immerse students in information about a broad subject. Students circulate through the gallery, reading, writing and talking about what they see.
  • Graphic Organizers:
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  • Making Text-to-Text/Text-to-Self/Text-to-World connectionsCharting Debatable IssuesListing Facts/Questions/ResponsesIdentifying Cause and EffectSupporting Opinions With FactsTracking The Five W’s and an HIdentifying Multiple Points of ViewIdentifying a Problem and SolutionComparing With a Venn Diagram
  • The One-Pager:Almost any student can find a “way in” with this strategy, which involves reacting to a text by creating one page that shows an illustration, question and quote that sum up some key aspect of what a student learned.
  • “Popcorn Reads”:Invite students to choose significant words, phrases or whole sentences from a text or texts to read aloud in random fashion, without explanation. Though this may sound pointless until you try it, it is an excellent way for students to “hear” some of the high points or themes of a text emerge, and has the added benefit of being an activity any reader can participate in easily.
  • Illustrations:Have students create illustrations for texts they’re reading, either in the margins as they go along, or after they’ve finished. The point of the exercise is not, of course, to create beautiful drawings, but to help them understand and retain the information they learn.
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    Update | Feb. 2012: We'll be exploring the new Common Core State Standards, and how teaching with The Times can address them, through a series of blog posts. You can find them all here, tagged "the NYT and the CCSS."
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    A good list of reading strategies for informational text from the New York Times.
Jeff Andersen

Quality digital tools and services enhance the student experience, boost recruitment efforts | Education Dive - 9 views

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    Dive Brief: Implementing new technologies can yield challenges for students, faculty and other campus users that are not accustomed to these tools, especially if instruction on their use is "nebulous and frustrating," writes Eric Stoller, a student affairs and technology blogger for Inside Higher Ed. Stoller suggests institutions provide quality customer service around digital services, and pressure "old-guard" technology companies to provide systems that meet or exceed users' expectations or aligning themselves with "solutions/providers with less built-in corporate rigidity." He also advises that institutions' marketing teams and communications offices make sure that digital services like campus mobile apps make sense for their students' preferred user experiences, so that the technologies enhance the overall student experience and boost branding and recruitment efforts.
Kathleen N

the.Planet | the.News | YOU.edit |You.Report - 0 views

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    Site for MS-HS students ;lesson plans for teachers YOU.edit will go online in the spring of 2009. Students will be able to create their own interactive videos through the YOU.edit online editing tool that will be available in early 2009. This tool will allow students to create online reports drawn from the digital files that comprise a completed the.News segment. These component parts include video, music, graphics, interviews, and narration. YOU.edit will go online in the spring of 2009. Students will be able to create their own interactive videos through the YOU.edit online editing tool that will be available in early 2009. This tool will allow students to create online reports drawn from the digital files that comprise a completed the.News segment. These component parts include video, music, graphics, interviews, and narration.
JD Pennington

Diigo in College/University - 253 views

Some questions: Is it possible to get an RSS feed of group annotated links that are no longer live pages, but are instead highlighted static pages? This way I can get a feed of a the links that ...

education diigo

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

Mark Gleeson

Technology - Providing Incredible Opportunities for Students whether we want it to or not - 4 views

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    If you believed the media shock jocks, every kid on the internet is either an idiot or in great peril. But I want to tell a different story starring my daughter, her best friend and a small group of friends ( including my opportunistic son!). This is a completely different story that highlights the amazing opportunities that today's available technology offers our students. It's also a story about how, if given the freedom, children will take what we 'make' them do at school and take it to a whole new level that the limited minds of us teachers don't even plan for. It explains why student led learning can be a success if we don't restrict our students from going beyond our stated objectives. It shows how true engagement doesn't need a teacher or a classroom for children to achieve great things and how technology can allow young students follow their dreams with the restrictions we had in the past.
Jason Finley

Diigo in Education - 108 views

Marie, my primary use and focus with Diigo is the social networking aspect that you mentioned. There is definitely truth to the statement that "Chance favors the connected mind." I've created a g...

Diigo

Audrey Nay

Facebook, Cell Phones, & iPods: Updating The K-12 Student Handbook - 123 views

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    Today's students live in an incredibly high tech world- from cell phones to Facebook to YouTube to iPods- K-12 schools are faced with a multitude of new challenges that must be addressed in your student handbook. How can you restructure your student handbook to include the potential issues that may arise as a result of students' increased use of these technologies? Join us for a live, 60-minute audio conference where you and your colleagues will learn:\n\n * Keys to Drafting K-12 Handbook Policies for Today's Students\n * Online Use Policies: Facebook, MySpace & Online Communities\n * Crafting Guidelines & Policies for Cell Phone & iPod Use at School\n * Protecting Your School from Liability: What You Need to Know\n * Cyberbullying & Technology Misconduct: What Educators Must Know
Maureen Greenbaum

How diplomas based on skill acquisition, not credits earned, could change education - The Hechinger Report - 15 views

  • a new teaching approach here called “proficiency-based education” that was inspired by a 2012 state law.
  • law requires that by 2021, students graduating from Maine high schools must show they have mastered specific skills to earn a high school diploma.
  • CompetencyWorks, a national organization t
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  • By 2021, schools must offer diplomas based students reaching proficiency in the four core academic subject areas: English, math, science and social studies. By 2025, four additional subject areas will be included: a second language, the arts, health and physical education.
  • proficiency-based idea has also created headaches at some schools for teachers trying to monitor students’ individual progress.
  • Students have more flexibility to learn at their own pace and teachers get time to provide extra help for students who need it
  • It wasn’t for lack of trying,” Bowen said. “It was a systems design problem.”
  • offer students clarity about what they have to learn and how they are expected to demonstrate they’ve learned it.
  • at schools that have embraced the new system, teachers say they are finding that struggling students are seeing the biggest gains because teachers are given more time to re-teach skills and students better understand the parameters for earning a diploma.
  • Deciding to believe that all students are capable of learning all of the standards, she said, “was scary.”
  • Multiple-choice questions have virtually disappeared. Homework is checked, but not graded.
  • students get less than a proficient score, they must go back and study the skill they missed. They are then given a chance to retake the relevant portions of the test until they earn a satisfactory score.
  • We inherited a structure for schooling that was based on time and on philosophical beliefs that learning would be distributed across a bell curve,
  • get crystal clear about what we want students to know and be able to do and then how to measure it.”
Kate Pok

Intersections: History and New Media: Wiki in the History Classroom - 5 views

  • Students did not agree on the merits of the wiki. Some were deeply offended when other students eliminated or modified their contributions. Others found the chance to pick apart other’s words and conclusions exhilarating. Regardless, most students seemed to grasp the important lesson I hoped to share: that history is the conversation we have about the past. History is about the authorial choices scholars make. History is about the evidence included and the evidence excluded. By asking students to participate in a joint-writing exercise, they were compelled to pay attention to the language others used, the phrasings and structure employed, the anecdotes emphasized, the facts obscured. I told them the story of an undergraduate English professor I had who spent an entire class session discussing why Shakespeare began Macbeth with the word “when”. Words matter. Words shape arguments. They determine meaning, and they form our view of the world around us, including our view of the history of the world around us. Students also came to appreciate that history was not a bag of facts we historians force them to memorize. Instead, as Appleby, Hunt, and Jacob suggest, history is the product of that collective effort of truth seeking.
  • I still caution students about using Wikipedia. But I think the wiki can help our students see themselves as part of that democratic conversation so important to our profession. Throwing their ideas into the ring for others to challenge forces students to defend their ideas, modify their conclusions, and reconsider their assumptions. The wiki, while not perfect, may help us change the way our students think about history. It may help them be more attentive to language and argument. Importantly, it may help them value civil discourse as a civic virtue. These are good lessons for history students and for their professors. —Kevin B. Sheets is associate professor of history at the State University of New York, College at Cortland and project director of the “American Dream Project,” a Teaching American History grant-based project in upstate New York. He regularly teaches courses in historical methods and American intellectual and cultural history.
  •  
    Great description of the merits of using a wiki in a classroom.
paul lowe

A report says universities' use of virtual technologies is 'patchy' | Education | The Guardian - 1 views

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    The "Google generation" of today's students has grown up in a digital world. Most are completely au fait with the microblogging site Twitter; they organise their social lives through Facebook and MySpace; 75% of students have a profile on at least one social networking site. And they spend up to four hours a day online. Modern students are happy to share and participate but are prone to impatience - being used to quick answers - and are casual about evaluating information and attributing it, and also about legal and copyright issues. With almost weekly developments in technology and research added to increasingly web-savvy students' expectations, how are British universities keeping up? Pretty well, according to Sir David Melville, chair of Lifelong Learning UK and author of a new report into how students' use of new technologies will affect higher education.
Martin Burrett

How students recognise 'fake news' in digital literacy tasks - 18 views

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    "A recent study revealed students at an international school in Finland significantly outperformed U.S. students on tasks which measure digital literacy in social media and online news. The researchers suggest this may be due to the Finnish and International Baccalaureate curricula's different way of facilitating students' critical thinking skills compared to the US system and curriculum. The results of this study were published in the Journal of Research in International Education in April. Critical thinking is a 21st century skill considered essential for today's students to navigate the Information Age and for their future work life."
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - 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."
Jamie Menshouse

What We Learned: A 1:1 iPad Reflection | Edutopia - 185 views

  • One of the best decisions our team made last summer was to pre-install Casper (5) profiles on all of our iPads. We pulled the student IDs from our ASPEN (6) student information system, logged each student into Casper and installed the four profiles needed for our plan. The profiles took Safari web browser off the iPad.
  • As we progressed through the year, we discovered that these tools took a lot of time to create something we were trying to move away from in the first place. The reason for moving away from textbooks is that they offer a myopic vision of a world that is ever-changing. Simply viewing a textbook on an iPad does not change or innovate learning, nor does it use the iPad to its full potential. If your plan is to digitize a standard textbook, save your money and renew your textbook licenses.
  • This year we are incorporating K-12 digital portfolios along with revised information and digital literacy standards. Every BPS student will have a Google Apps for Education account that they will use in conjunction with the Blogger (15) application to begin creating their Life of Learning portfolio
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    • Jeppe Egendal
       
      Digital portfolio og blogger
    • Jeppe Egendal
       
      Begrundelser for anvendelsen af iPads i undervisningen bevæger sig fra en forestilling om at erstatte tekstbøger til en forestilling om at kunne lærerne kan samarbejde med eleverne i skyen ved hjælp af værktøjer, der automatisk synkroniserer med eleverns iPads
  • The students that make it into help desk are those who not only enjoy working with technology in an educational context, but have a desire to serve, support and possibly solve problems in the school on a daily basis.
  • . Aside from simply troubleshooting, our students help their former teachers at the middle and elementary levels as well as create how-to scripts and videos for students, faculty and the Burlington community. Our students have not only helped within the BPS community, but have helped our Tech Team organize two major conferences in the past year:
    • Jeppe Egendal
       
      Eleverne hjælper som ressorucepersoner i skolen
  • You can have the most precisely calculated plan in place before you launch, but if you don't have the right support in place, your launch may stumble. I regard our IT department as one of the best I have ever worked with. I say this in all sincerity because I do "work with" this team. These guys not only manage a robust infrastructure, but they take part in the educational conversation and give our staff the best tools to create dynamic, engaging classrooms.
    • Jeppe Egendal
       
      Teknisk support er en del af løsningen og de skal deltage i den løbende pædagogisk/didaksike debet
  • However, we must work to incorporate information and digital literacy standards into the K-12 curriculum as early as possible. Students in Kindergarten should understand what it means to be nice to someone and how that will translate to writing and living on the Web. As students grow up through the educational pathways, they must be exposed to new and emerging technologies as early as possible in a safe, responsible manner. By doing so, we are preparing them for a global economy that requires these skills.
    • Jamie Menshouse
       
      Our middle school is adding character education to the arts and humanities curriculum. Teaching students at a young age to be thoughtful and responsible with technology will make it a much better experience inside the classroom.
Sharin Tebo

Teaching Metacognition - 78 views

  • Step 1: Teach students that the ability to learn is not a fixed quantity The key to a student's ability to become a self-regulated (i.e., metacognitive) learner is understanding that one's ability to learn is a skill that develops over time rather than a fixed trait, inherited at birth.
    • Sharin Tebo
       
      Carol Dweck's book on having a Growth Mindset comes to mind here...
  • Step 2: Teach students how to set goals and plan to meet them
  • Step 3: Give students opportunities to practice self-monitoring and adapting Accurate self-monitoring is quite difficult.
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  • In particular, students are encouraged to think about the key points of the lecture as they listen and take notes. At the end of the lecture, students write what they think the three most important ideas of the lecture were on an index card.
  • Example: lecture wrappers
  • Teaching Self-Monitoring Strategies Monitoring and adapting strategies can be taught as learning habits. A wrapper is one tool for teaching self-monitoring behavior. A wrapper is an activity that surrounds an existing assignment or activity and encourages metacognition. For example, wrappers can be used with lectures, homework assignments, or exams. Wrappers require just a few extra minutes of time, but can have a big impact.
  • Example: homework wrappers Before beginning a homework assignment, students answer a brief set of self-assessment questions focusing on skills they should be monitoring. Students complete the homework as usual, and then answer a follow-up set of self-assessment questions.
  • Example: exam wrappers When graded exams are returned (as soon as possible after the exam was given), students complete an exam reflection sheet. They describe their study strategies, analyze the mistakes they made, and plan their study strategies for the next exam.
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    "Metacognition is a critically important, yet often overlooked component of learning. Effective learning involves planning and goal-setting, monitoring one's progress, and adapting as needed. All of these activities are metacognitive in nature. By teaching students these skills - all of which can be learned - we can improve student learning. There are three critical steps to teaching metacognition:"
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    Really useful reminder of how we need to address very basic ideas about how to absorb new information and ask students to self-monitor and push themselves. I appreciated the information and plan to incorporate the wrappers!
Javier E

The Default Major - Skating Through B-School - NYTimes.com - 41 views

  • Dr. Mason, who teaches economics at the University of North Florida, believes his students are just as intelligent as they’ve always been. But many of them don’t read their textbooks, or do much of anything else that their parents would have called studying. “We used to complain that K-12 schools didn’t hold students to high standards,” he says with a sigh. “And here we are doing the same thing ourselves.”
  • all evidence suggests that student disengagement is at its worst in Dr. Mason’s domain: undergraduate business education.
  • “Business education has come to be defined in the minds of students as a place for developing elite social networks and getting access to corporate recruiters,”
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  • It’s an attitude that Dr. Khurana first saw in M.B.A. programs but has migrated, he says, to the undergraduate level.
  • Second, in management and marketing, no strong consensus has emerged about what students ought to learn or how they ought to learn it.
  • Gains on the C.L.A. closely parallel the amount of time students reported spending on homework. Another explanation is the heavy prevalence of group assignments in business courses: the more time students spent studying in groups, the weaker their gains in the kinds of skills the C.L.A. measures.
  • The pedagogical theory is that managers need to function in groups, so a management education without such experiences would be like medical training without a residency. While some group projects are genuinely challenging, the consensus among students and professors is that they are one of the elements of business that make it easy to skate through college.
  • “We’ve got students who don’t read, and grow up not reading,” he says. “There are too many other things competing for their time. The frequency and quantity of drinking keeps getting higher. We have issues with depression. Getting students alert and motivated — even getting them to class, to be honest with you — it’s a challenge.”
  • “A lot of classes I’ve been exposed to, you just go to class and they do the PowerPoint from the book,” he says. “It just seems kind of pointless to go when (a) you’re probably not going to be paying much attention anyway and (b) it would probably be worth more of your time just to sit with your book and read it.”
  • “It seems like now, every take-home test you get, you can just go and Google. If the question is from a test bank, you can just type the text in, and somebody out there will have it and you can just use that.”
  • This is not senioritis, he says: this is the way all four years have been. In a typical day, “I just play sports, maybe go to the gym. Eat. Probably drink a little bit. Just kind of goof around all day.” He says his grade-point average is 3.3.
  • concrete business skills tend to expire in five years or so as technology and organizations change.
  • History and philosophy, on the other hand, provide the kind of contextual knowledge and reasoning skills that are indispensable for business students.
  • when they hand in papers, they’re marked up twice: once for content by a professor with specialized expertise, and once for writing quality by a business-communication professor.
  • a national survey of 259 business professors who had been teaching for at least 10 years. On average, respondents said they had reduced the math and analytic-thinking requirements in their courses. In exchange, they had increased the number of requirements related to computer skills and group presentations.
  • what about employers? What do they want? According to national surveys, they want to hire 22-year-olds who can write coherently, think creatively and analyze quantitative data, and they’re perfectly happy to hire English or biology majors. Most Ivy League universities and elite liberal arts colleges, in fact, don’t even offer undergraduate business majors.
Sasha Thackaberry

Colleges use FAFSA information to reject students and potentially lower financial aid packages | Inside Higher Ed - 34 views

  • When would-be college students apply for financial aid using the FAFSA, they are asked to list the colleges they are thinking about attending. The online version of the form asks applicants to submit up to 10 college names. The U.S. Department of Education then shares all the information on the FAFSA with all of the colleges on the list, as well as state agencies involved in awarding student aid. The form notes that the information could be used by state agencies, but there is no mention that individual colleges will use the information in admissions or financial aid -- and there is no indication that students could be punished by colleges for where they appear on the list.
  • Now, some colleges use this “FAFSA position” when considering students’ applications for admission, which may affect decisions about admission or placement on the wait list, said David Hawkins, director of public policy and research for the National Association for College Admission Counseling.
  • So the institution is disinclined to use up a precious admissions slot for a student who is unlikely to enroll.  “The student has no idea that this information is being used in this context,” Hawkins said. The federal government "doesn’t indicate it. Institutions certainly aren’t telling students they are using it. Certainly, this is a concern from this association’s standpoint.”
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  • It's unclear if the Education Department was aware of this issue until contacted by Inside Higher Ed on Friday. The department now says it will review the longstanding practice of sharing the FAFSA positions with every college.
  • The use of the list on the FAFSA is just another example of how colleges are using increasingly sophisticated data mining techniques to recruit and shape their classes.
sha towers

Doctoral degrees: The disposable academic | The Economist - 27 views

  • There is an oversupply of PhDs. Although a doctorate is designed as training for a job in academia, the number of PhD positions is unrelated to the number of job openings. Meanwhile, business leaders complain about shortages of high-level skills, suggesting PhDs are not teaching the right things. The fiercest critics compare research doctorates to Ponzi or pyramid schemes.
  • A graduate assistant at Yale might earn $20,000 a year for nine months of teaching. The average pay of full professors in America was $109,000 in 2009
  • America produced more than 100,000 doctoral degrees between 2005 and 2009. In the same period there were just 16,000 new professorships.
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  • PhD students and contract staff known as “postdocs”, described by one student as “the ugly underbelly of academia”, do much of the research these days.
  • In some areas five years as a postdoc is now a prerequisite for landing a secure full-time job.
  • About one-third of Austria’s PhD graduates take jobs unrelated to their degrees. In Germany 13% of all PhD graduates end up in lowly occupations. In the Netherlands the proportion is 21%.
  • In America only 57% of doctoral students will have a PhD ten years after their first date of enrolment. In the humanities, where most students pay for their own PhDs, the figure is 49%.
  • in 1966 only 23% of science and engineering PhDs in America were awarded to students born outside the country. By 2006 that proportion had increased to 48%. Foreign students tend to tolerate poorer working conditions, and the supply of cheap, brilliant, foreign labour also keeps wages down.
  • The earnings premium for a PhD is 26%. But the premium for a master’s degree, which can be accomplished in as little as one year, is almost as high, at 23%
  • PhDs in maths and computing, social sciences and languages earn no more than those with master’s degrees
  • the skills learned in the course of a PhD can be readily acquired through much shorter courses.
  • In one study of British PhD graduates, about a third admitted that they were doing their doctorate partly to go on being a student, or put off job hunting.
  • The more bright students stay at universities, the better it is for academics. Postgraduate students bring in grants and beef up their supervisors’ publication records.
  • Writing lab reports, giving academic presentations and conducting six-month literature reviews can be surprisingly unhelpful in a world where technical knowledge has to be assimilated quickly and presented simply to a wide audience.
  • Many of those who embark on a PhD are the smartest in their class and will have been the best at everything they have done. They will have amassed awards and prizes. As this year’s new crop of graduate students bounce into their research, few will be willing to accept that the system they are entering could be designed for the benefit of others, that even hard work and brilliance may well not be enough to succeed, and that they would be better off doing something else.
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    article from the Economist "The Disposable Academic: Why doing a PhD is often a waste of time
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