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Martin Burrett

UKEd Update 1st February 2018 - 4 views

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    The best edu news, articles, resources and more
Martin Burrett

UKEd Update - 5th February 2018 - 1 views

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    The latest edu news, articles, resources and the best of edu Twitter.
Clint Heitz

ASCD Express 13.16 - The Keys to Content-Area Writing: Short, Frequent, and Shared - 17 views

  • Examine your students' background knowledge on a new topic of study by asking them to write about it. Pass out index cards and instruct students to fill only one side with their related thoughts and experiences. Provide a minute to write followed by a minute to discuss their ideas with a nearby partner. Collect the cards and set them aside until the end of the unit. Then, ask students to revisit their original notes and, on the backs of their cards, describe how their thinking has expanded or changed on this issue. The initial card writing gives you an insight into background knowledge, while the final card writing offers students insight into their thinking and learning.
  • If we continue to believe that we must collect and grade every piece of student writing, our exhaustion will result in students writing far less. Sure, if necessary, we can award points, checks, or stamps, but these should simply be records of whether the students gave a good-faith effort (full credit) or not (no credit), not grades that attempt to assess the writing (Vopat, 2009).
  • Offer students an intriguing content-area prompt. For example, if the topic was e-waste, you might ask students to write about the importance of e-devices in their own lives or you might project a photograph of a mountain of discarded, obsolete cell phones. Let students think and write for a minute or two. Then, working with a partner, have each student read aloud what they wrote and discuss their ideas. Another very social writing activity is written conversation. Starting in groups of three or four, students silently respond to a content-related prompt, writing for several minutes until most class members have about a third or half a page of writing. Then, within the group, students pass their papers to their right. Now, each student must read the previous writer's thoughts and expand the conversation by exploring ideas and asking questions. After a few minutes of writing, papers are passed again, and the conversation continues to blossom as more and more ideas and responses are added. When the paper returns to the owner after several passes, each student gets to read a very interesting conversation that began with their initial written response. Of course, this written conversation could continue as an out-loud discussion, as well.
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  • If you want students to be better readers, writers, and thinkers in every content area, then writing every day in every class is key. Be sure to make that informal and spontaneous writing short, frequent, and shared.
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    "Examine your students' background knowledge on a new topic of study by asking them to write about it. Pass out index cards and instruct students to fill only one side with their related thoughts and experiences. Provide a minute to write followed by a minute to discuss their ideas with a nearby partner. Collect the cards and set them aside until the end of the unit. Then, ask students to revisit their original notes and, on the backs of their cards, describe how their thinking has expanded or changed on this issue. The initial card writing gives you an insight into background knowledge, while the final card writing offers students insight into their thinking and learning."
anonymous

A Review of Netvibes, Personalized Start Pages - 27 views

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    Who uses this and do you like it?
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    I used to use it, but being cloud-based it doesn't let me use it with my personal workflow offline (which does still happen). I also find it better to use separate tools for separate contexts of work because those tools will better within each context than netvibes, which is a jack of all trades and master of none.
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."
Deborah Baillesderr

8x8 Education Video Lesson - 19 views

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    This is a short start guide for 8x8
Elizabeth Pierce-Fortin

JPL Robotics: Home Page - 43 views

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    Here you'll find detailed descriptions of the activities of the Mobility and Robotic Systems Section, as well as related robotics efforts around the Jet Propulsion Laboratory. We are approximately 100 engineers working on all aspects of robotics for space exploration and related terrestrial applications.
Martin Leicht

A Breakthrough for A.I. Technology: Passing an 8th-Grade Science Test - The New York Times - 13 views

  • But others, like this question from the same exam, required logic:
    • Martin Leicht
       
      Why do we still test rote memory? Why do not more tests in involve logical choices?
  • A science test isn’t something that can be mastered just by learning rules. It requires making connections using logic
  • “We can’t compare this technology to real human students and their ability to reason,”
    • Martin Leicht
       
      And yet, AI continues to improve/make logical connections. What are we doing to help keep students improving?
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  • The new research could lead to systems that can carry on a decent conversation.
  • the world’s leading A.I. labs have built elaborate neural networks that can learn the vagaries of language by analyzing articles and books written by humans.
    • Martin Leicht
       
      This was an improvement. Before, they showed AI thousands upon thousands of photos of dogs. In the end, AI can recognise a dog.
  • Bert learned how to guess the missing word in a sentence.
    • Martin Leicht
       
      Bert (from Google) learned to fill in these missing words by analysing thousands of pages of wikipedia and online books. Bert soaked up so much with so little effort. Never send a Human to do a robots job.
Maggie Tsai

Bib 2.0: Before Blogs and Wikis: Three Tools to Enhance Collaboration - 6 views

  • Diigo: Once they start their web-related search, Diigo, an add-on extension for Firefox and Internet Explorer, allows students to highlight text and post sticky-notes directly onto webpages, then share their comments within the group. Others can add their own comments to the note. Selected text is archived to a "my bookmarks" page, along with the comments and a copy of the website. Students can collaborate within the bookmarks site or on the individual websites. Diigo supports RSS feeds, allowing teachers to follow student progress. The more I use this tool, the more I'm convinced it ought to be integral to every research project. It allows students to actively connect with the information they're reading--to question, annotate and infer. All in collaboration with their group. How amazing is that???
Marc Patton

Assistive Technology - Loudon County Public Schools - 30 views

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    This is just a sampling of some favorites. Visit our Delicious site for our full collection.
Martin Burrett

Dropbox - Simplify your life - 95 views

    • Kalin Wilburn
       
      Use dropbox to keep track of files you need at home, work, and anywhere else you might be. It provides you the ability to access your files from any location, allow others to "drop" files into your dropbox, and to share any files you have placed in there. You can use it for student work or just as a personal productivity tool.
    • Kalin Wilburn
       
      It has to be downloaded on your computer so if you want to use this at school you will need your tech coordinator's permission.
    • S. Cosmo
       
      But you can use it at school with the access to the web page...
    • smithirowa24
       
      Dropbox synchs with your smart phone like an iphone, and it also synchs with tablets like the ipad.  This way I can carry my files no matter where I am.
    • Bill Shelly
       
      Try this in combination with dropitto.me. Awesome!
    • benjaminv
       
      I am not sure, but the idea of bringing referals to increase storage are awesome.
    • 玉昆 吴
       
      Great application
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    This is an amazing solution for storing, sharing, and back up your data. The ability to access files from any computer & mobile devices makes this a great solution. Up to 2GB storage free! Learn more about the public folder to share files with others, while keeping your other files private. I have it on both my Apple computers and on two PCs. This rocks!
  • ...2 more comments...
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    I love my Dropbox!! It makes life so much easier!
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    I have it too, and have used it for a couple of years now to go between my mac at school and PC at home. I recently blogged about it here: http://www.educationtechnologyblog.com/1/post/2010/08/dropbox-for-educators.html
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    @Jonathon, thanks for sharing the blog post. I'll pass that along to others. @Cathy, thanks for confirming it's been a useful tool.
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    One of the leading and best online file storage option. It works across many different devices and is great for teachers who like to travel light. Download required. Basic package is free with 'paid for' option with more storage. Easily share files with others. http://ictmagic.wikispaces.com/ICT+&+Web+Tools
NGUYEN Huu Cuong

Law 68/2014/QH13 Law on Enterprises - Cơ sở dữ liệu quốc gia về VBQPPL - Trung ương - 0 views

  • private enterprises
    • NGUYEN Huu Cuong
       
      Private enterprises in this Law means the sole proprietorship - not all forms of private enterprises as mention in the investopedia's definition (see http://www.investopedia.com/terms/p/privatecompany.asp)
Andrew Wicks

BBC History: Ancient History in-depth - 65 views

    • Andrew Wicks
       
      Another topic that is covered in the 7th grade standards that provides other resource for myself and students.
  • British Broadcasting CorporationHome Accessibility links Skip to content Skip to local navigation Skip to bbc.co.uk navigation Skip to bbc.co.uk search Help Accessibility Help History
oconnortammy

Education World: Are You a Techno-Constructivist? - 33 views

  • not only complements instruction but redefines it.
    • missboess
       
      This statement encompasses what I am trying to achieve in this resource design assessment. It also clearly links to the SMAR model of best ICT use in education, by implementing learning experience with technology that 'redefines' the activity. Meaning the activity is something that could not be done without the technology used.
  • help children build on their own experiences, construct their own meanings, create products, and solve problems successfully.
    • missboess
       
      Encompasses the constructivist theory I am using in the resource design and furthermore links to the method of inquiry.
  • long-term problem-solving and product-generating tasks
    • missboess
       
      In my resource design students will take part in a long term water sustainability project. A website will assist them in attaining access to multiple resources, communication with the outerworld (blogging) and creating products such as videos, visuals etc.
    • oconnortammy
       
      How are you helping your students to connect to the outside world? Are they having dialogues with others?
  • ...1 more annotation...
  • See The Webquest Page or WebQuest.org for endless materials.)
    • missboess
       
      Webquest was used as an inspiration for my resource design, as it provides a useful platform for inquiry units to be created. There are endless examples on there. I really recommend you have a look at them. I decided to create my own website on weebly, as it provided more options and interactivity.
Nigel Coutts

Does Mathematics Education need a re-think? - 56 views

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    Once upon a time Mathematics was easy to teach. A typical lesson would begin with a direction towards a particular page of the text book and would conclude with the ceremonial marking of the answers. This process was repeated over and over, year after year and in the end students would be able to repeat the required method with a satisfactory degree of accuracy.
Jeff Andersen

About Us - Outdoor Voices - 11 views

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    We make clothes for sweating in - interchangeable layers that play nice in any season or activity. From dog jogs to dodgeball, we're after a wardrobe that spans gym-life and life-life without sweating the small stuff. Don't know where to start? There's an OV Kit for that. Ready to dive deeper?
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