Skip to main content

Home/ Diigo In Education/ Group items matching "project-based" in title, tags, annotations or url

Group items matching
in title, tags, annotations or url

Sort By: Relevance | Date Filter: All | Bookmarks | Topics Simple Middle
1More

VisualizeUs browser button on VisualizeUs - 75 views

vi.sualize.us/button image_bookmarking
shared by Dianne McKenzie on 13 Aug 11 - No Cached
  • Dianne McKenzie on 13 Aug 11
     
    awesome for art and other image based projects ...
1More

Vittana | How it works - 2 views

vittana.org/howitworks service learning project-based learning
shared by Jason Finley on 29 Mar 11 - No Cached
  • Jason Finley on 29 Mar 11
     
    Micro-student loans for students in 3rd world countries. Outside of the United States and a handful of other countries, student loans just don't exist. No matter how well you did in school, no matter how good your grades were, no matter how hard you worked, if you don't have the cash up front or a rich uncle to co-sign for you, you just can't go to college. In many cases, Vittana loans are the first and only source of college loans for students in countries where we operate.
2More

PhET: Free online physics, chemistry, biology, earth science and math simulations - 7 views

phet.colorado.edu science simulations interactive chemistry biology phet flipped classroom
shared by Deborah Baillesderr on 20 Apr 11 - Cached
  • David Garcia on 20 Apr 11
     
    a huge set of online simulations for science classes
  • Marc Patton on 16 Nov 12
     
    Fun, interactive, research-based simulations of physical phenomena from the PhET™ project at the University of Colorado.
32More

The Accelerated Modular Learning Project: The Evolution into Web-based Courses - 49 views

frank.mtsu.edu/...rvonholzen1.html
shared by Tricia Rodriguez on 19 Oct 11 - No Cached
    • Tricia Rodriguez
      Tricia Rodriguez on 19 Oct 11
       
      To consider about the students: Time, place and style of learning.
  • Information and knowledge
  • paradigm shift
  • ...29 more annotations...
  • formal kind of learning
  • lifelong learning
  • job, learning from others, learning constantly, learning in any place, and at any time.
    • Tricia Rodriguez
      Tricia Rodriguez on 19 Oct 11
       
      Types of learning: job, from others (group), mobile
  • how to reconfigure courses into modules
  • enhance the learning process
  • ncorporation of multimedia
  • other technologies
  • 1997-98 academic year
    • Tricia Rodriguez
      Tricia Rodriguez on 19 Oct 11
       
      Is the goal to move up this chain or to have a wide variety of types?
  • online, multimedia presentations and interactive exercises with instructors and peers
  • synchronous and asynchronous learning,
    • Tricia Rodriguez
      Tricia Rodriguez on 19 Oct 11
       
      This sound very similar to the CTER program at U of I.
  • attendance by students is not required
  • materials are being developed throughout the semester
  • online testing, various forms of assessment, and groupware discussions.
  • fail a module exam are required to retake the exam
  • two scores are averaged.
  • Students are able to learn at their own pace,
  • progress
  • take the lead
  • help others reinforce what they have learned.
  • enhancing/extending
  • learner-centered environment
  • pace to match individual learning needs and styles
  • Web-presence
  • support new learning environments
  • increasing on/off-campus access to the teaching-learning community
    • Tricia Rodriguez
      Tricia Rodriguez on 19 Oct 11
       
      And here is where you can see that this was written in 1998 :)
2More

Dash - 29 views

dash.generalassemb.ly
shared by Michele Rosen on 15 Oct 13 - No Cached
  • Thieme Hennis on 15 Oct 13
     
    another online 'learn to code' platform, but with virtual assistance and code checkers (paid → good business model), and project based, so more engaging.
1More

Project Based Learning Checklists - 99 views

pblchecklist.4teachers.org/index.shtml pbl ProjectBasedLearning checklists Rubrics assessment learning resources tools
shared by amberdewire on 05 Aug 15 - Cached
  • amberdewire on 05 Aug 15
     
    Checklist Tool
5More

How to: Inquiry | YouthLearn - 85 views

www.youthlearn.org/...how-inquiry inquiry PBL
shared by Mark Gleeson on 05 Mar 10 - Cached
  • Before going to the kids, determine any preliminary factors or characteristics that must be true in order to achieve your larger goals or plans
  • Almost any topic can become the foundation for an inquiry-based project, even something as mundane as shoes,
  • jodi tompkins on 05 Mar 10
     
    Steps to the Inquiry process
  • jodi tompkins on 05 Mar 10
     
    Check this site out.... wonderful explanation on the Inquiry process.
  • Mark Gleeson on 04 Jul 12
     
    Interesting read on an inquiry model of learning. 
1More

Marking Up the Web with Diigo's Social-Annotation Tool | Edutopia - 5 views

www.edutopia.org/g-web-diigos-social-annotation diigo education
shared by Maggie Tsai on 05 Aug 07 - Cached
  • Diigo definitely has a place in education. Envision a group of students working on a Web-based research project: Not only can they cite the pages they’ve used, they can also have conversations about resources on the very pages they are discussing. And to take it a step further, the students’ teacher can join the group, view how the students are using the Web resources, and comment on their note-taking -- right on the sticky notes. As the site states, “Diigo is about Social Annotation.”
42More

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

muse.jhu.edu/224140 world Music
shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
7More

Creative Educator - Connecting Curricula for Deeper Understanding - 34 views

creativeeducator.tech4learning.com/...icula-for-Deeper-Understanding Engagement legacy integration interdisciplinary STEAM STEM SDW SDWWL philosophy research
shared by Sharin Tebo on 20 Nov 14 - No Cached
  • Most schools will say that they want students to have an understanding of their world as a whole, but they seldom look at topics with an interdisciplinary focus. Why? It is easy to find reasons why this disjointed approach to learning happens: · Some argue that there is so much content and so many skills to be learned  in each discipline that they don’t have time to integrate subjects. · Others say that the each discipline has a body of knowledge and skills that  should stand on its own and not be muddied by the intrusion of other disciplines. · Secondary educators say that there is insufficient common planning time  to combine their efforts to teach an interdisciplinary course. · Still others say that the whole system is geared toward separate subjects  and to break out of this would require a monumental effort. · Others are guided by “the tests,” which are presented by separate disciplines.
  • The ultimate goal for the study of any subject is to develop a deeper understanding of its content and skills so that students can engage in higher-level thinking and higher- level application of its principles. When students dig deeper and understand content across several disciplines, they will be better equipped to engage in substantive discussion and application of the topic. They will also be better able to see relationships across disciplines.
  • They organize students into interdisciplinary teams and coordinate lessons so that what happens in math, science, language arts, and social studies all tie to a common theme. Many times these teachers team-teach during larger blocks of time. Advocates of this more holistic approach to curriculum argue that it helps students:
  • ...2 more annotations...
  • Of course, digging deeper doesn’t fit well in the time frame that most schools use. It takes time to link content across several disciplines, and it may be difficult to squeeze a learning activity into a 40-minute period. To change the method of learning will mean changing more than the curricula. The school structure, including the schedule and methodology will also need to change.
  • To prepare our students for an integrated world, we need to break out of the separate-discipline mentality and develop more holistic and problem/project-based approaches. Many have tried to do this, and it isn’t easy.
  • Sharin Tebo on 20 Nov 14
     
    STEM and STEAM--challenge to aim for more integration cross-disciplines.
1More

Evaluation Within Project-Based Learning | Edutopia - 45 views

www.edutopia.org/...aluating-pbl-michael-hernandez abp pbl evaluación
shared by Chema Falcó on 02 Apr 17 - No Cached
  • Chema Falcó on 02 Apr 17
     
    Qué tener en cuenta al evaluar con ABP / PBL
2More

iCivics | Free Lesson Plans and Games for Learning Civics - 56 views

www.icivics.org Teaching_Ideas Teacher_Resources Social_Studies
shared by Marc Patton on 07 Jul 10 - Cached
Lisa DiGangi liked it
  • jodi tompkins on 07 Jul 10
     
    iCivics is a web-based education project designed to teach students civics and inspire them to be active participants in our democracy. iCivics is the vision of Justice Sandra Day O'Connor, who is concerned that students are not getting the information and tools they need for civic participation, and that civics teachers need better materials and support.
  • Marc Patton on 27 Jun 12
     
    iCivics prepares young Americans to become knowledgeable, engaged 21st century citizens by creating free and innovative educational materials.
« First ‹ Previous 241 - 260 of 260
Showing 20▼ items per page