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

www.edutopia.org/uiry-project-learning-research Collaborative Learning Powerful Student as Researcher
shared by Frederick Eberhardt on 03 Oct 09 - Cached
  • 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
  • ...10 more annotations...
  • 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
      Adrienne Michetti on 03 Oct 09
       
      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
      Adrienne Michetti on 03 Oct 09
       
      Interesting... worth checking out.
  • They require changes in curriculum, instruction, and assessment practices -- changes that are often new for teachers and students.
  • Adrienne Michetti on 03 Oct 09
     
    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
  • Adrienne Michetti on 03 Oct 09
     
    A scholarly article with tremendous real-world practical implications and suggestions. Love this.
  • Frederick Eberhardt on 06 Oct 11
     
    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.
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Convert PDF to CSV Tables in Tact - 6 views

leancrew.com/...table-munging-followup linux
shared by Comrad Compadre on 13 Aug 17 - No Cached
  • Tabula really is a wonderful tool for extracting data from tables in PDFs. It’s a locally hosted web app that allows you to Select one or more PDFs with the data you want. Identify the area of the page from which to extract the data. Save the data in CSV, TSV, or JSON format. I gave Tabula a try on the same PDF tables I wrote about last night, and it worked perfectly. You may recall that I didn’t like the column headings in the original table. Well, Tabula let me drag a rectangle to select just the data portion of the table, leaving the stuff I didn’t want out of the extracted CSV file.
  • Comrad Compadre on 13 Aug 17
     
    How to use Tabula, a browser based locally hosted web app to convert a PDF to a proper file for view in Excel.
  • Comrad Compadre on 13 Aug 17
     
    Perhaps useful to the educators out there
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UKEdTech Live Stream - Episode 01 - 4 views

www.patreon.com/11949209 live stream edtech educational technology
shared by Martin Burrett on 22 Jun 17 - No Cached
  • Martin Burrett on 22 Jun 17
     
    EdTech Live Stream hosted by @ICTmagic News, reviews, interviews, and 'how-to' guides Join the next live broadcast by going to http://eepurl.com/cSuSo1
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Free Technology for Teachers: 100+ Animated Philosophy Lessons - 63 views

www.freetech4teachers.com/...imated-philosophy-lessons.html philosophy resources
shared by alexis alexander on 20 Oct 15 - No Cached
  • alexis alexander on 20 Oct 15
     
    "Wireless Philosophy AKA Wi-Phi is a project produced by philosophy students and professors from Duke, Yale, Northern Illinois University, MIT, and Duquesne University. The purpose of the project is to philosophy through animated videos. There are currently more than 100 videos available in the Wireless Philosophy YouTube channel. The videos are organized into twelve playlists covering topics like critical thinking and biases, political philosophy, religion, Descartes, and linguistics."
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Learning by playing, tinkering and making - The Learner's Way - 41 views

thelearnersway.net/...y-playing-tinkering-and-making learning playing making learner education technology collaboration
shared by Nigel Coutts on 04 Jun 17 - No Cached
  • Nigel Coutts on 04 Jun 17
     
    Play is a vital tool for learning. It should be vital part of every child's learning; the norm rather than the exception and we leave it behind as we become adults to our own peril. 
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https://stkate.desire2learn.com/content/enforced/113596-410502017/Readings%20for%20Modu... - 9 views

stkate.desire2learn.com/...I%20saw%20what%20you%20did.pdf new_literacies technology ethics privacy
shared by mmdenne on 07 Jul 17 - No Cached
    • mmdenne
      mmdenne on 07 Jul 17
       
      There are moany online businesses on facebook. I can't even begin to htink about the number of people selling Rodan and Fields, 31, etc... - My negihbor works n the prison and she still can't have a cell phone - You have ti be careful what you ike and don't like because that could look bad to potential employrs. You have tore realize that your posts are seen by everyone. Ha! Line 23 just said wthe same thing! - Why can't stuents, exmployees, have personel lives and live them on facebook. How you are in a social speace does not define you as an employee, students, etc... Okay- this background- checking service that takes pictures and keeps themfor 7 years is skechy! - It is scary to think that anything we post can be used by anyone for any purpose.
    • mmdenne
      mmdenne on 07 Jul 17
       
      Really? We are monitored if we type in a cerain term? Pork seems abit scary in that a certain group is clearly being targeted here. - I do like the advanteages soical media can bring to horrific siutation: missing children. thefts, etc... It can really help people find who they are looking for: parents looking for birth children, etc... -- Streaming in our own state on facebook of cop shooting F"Facebook holds the cards , and its citizens have little recourse- other than to leave the service entirely." ( ) scary! page 9 - ads on facebook r targeted to us for what we search which is unsettling. Facebook knows alot about me! - Where do companies like Spokeo get all of our information??? Ahh- okay I see. But because they claim they are out there for entertainment that do not have to be accurate and can post that stuff??
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Cool Tools for 21st Century Learners - 190 views

d97cooltools.blogspot.com Technology
shared by Annette Yono on 27 Sep 14 - Cached
  • Deborah Baillesderr on 27 Sep 14
     
    Great Blog!
  • Annette Yono on 23 Jun 17
     
    Thinglink
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Yabla - Language Immersion - Learn Languages with Authentic Videos - 88 views

www.yabla.com language learning immersion
shared by Norma Moore on 02 May 12 - Cached
  • Norma Moore on 02 May 12
     
    Language Immersion Through Online Video The revolutionary way to immerse yourself in a foreign language is here! Only Yabla language immersion sites give you authentic television, music videos, drama, interviews, travel, and Yabla exclusive shoots from throughout the world. Our unique player technology is designed with language learners in mind: Slow Play, Integrated Dictionaries, Listening Game, Dual Language Subtitles, and more.
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5 Innovative Classroom Management Tools for Teachers - 264 views

mashable.com/...classroom-management-tools education technology tools teaching
shared by Thane Magelky on 02 Dec 10 - No Cached
  • Wayne Holly on 02 Dec 10
     
    "Few teachers are drawn to the profession for its administrative duties. But the reality of attendance taking, lesson planning, grading and parental communications is that they're a big part of the job. These tasks, however, need not take over. With help from the many online services and mobile apps designed for teachers, it can be easy to efficiently organize and complete classroom management responsibilities. Here are five of our favorite virtual tools for tackling some of the most common classroom chores."
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The Plagiarism Checker in Education ~ Educational Technology - 308 views

educationaltech-med.blogspot.com/...rism-checker-in-education.html plagiarism checker Web2.0 tools
shared by A Gardner on 18 Apr 11 - No Cached
  • I present to you this web2.0 tool that will help you detect those students who rely on “ copy and paste”
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2 teacher-created models for savvy tech integration | Ditch That Textbook - 52 views

ditchthattextbook.com/...els-for-savvy-tech-integration standards techintegration technology integration models
shared by Glenn Hervieux on 08 Jun 17 - No Cached
  • Glenn Hervieux on 08 Jun 17
     
    Matt Miller provides information on the PAGER and FUN tech integration models. PAGER is a very easy model that is easier to digest than SAMR & TPACK.
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BridgingApps | Apps for Special Needs - 4 views

bridgingapps.org apps tools students resources AT assistive technology
shared by Susan Saunders on 10 Apr 12 - No Cached
  • Susan Saunders on 30 May 18
     
    BridgingApps is a program of Easter Seals Greater Houston that provides access to educational and therapeutic tools-anywhere, anytime-allowing parents, teachers, and therapists to effectively use mobile devices and apps to target and improve individual skill development to help children and adults with disabilities reach their highest levels of physical and cognitive development.
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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."
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