there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
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The Creativity Crisis - Newsweek - 48 views
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“Creativity can be taught,”
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it’s left to the luck of the draw who becomes creative: there’s no concerted effort to nurture the creativity of all children
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Students are labeled as "creative" if they display a knack for art or music, and sometimes in writing, however, they are rarely recognized as creative in math or science where a lot of creativity is not only needed, but excellent for learning within those very two disciplines. -
This is precisely why creativity education is important. It is needed everywhere, not just in the arts. Those teaching outside of arts education need to start recognizing the importance of creative thinking as well.
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When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”
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The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.
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When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.
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those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better
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Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.
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Likely because it was out of necessity and the hardships of life. Not that we don't have hardships and necessities, but innovation has solved a lot of problems and automation has made skills and tasks easy.
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What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.
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Everyday process of work or school... over time, consistent and non-prescriptive.
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kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.
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project-based learning
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highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.
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When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.
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solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others
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The age-old belief that the arts have a special claim to creativity is unfounded.
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When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.
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The lore of pop psychology is that creativity occurs on the right side of the brain. But we now know that if you tried to be creative using only the right side of your brain, it’d be like living with ideas perpetually at the tip of your tongue, just beyond reach
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those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.
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The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer
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The new view is that creativity is part of normal brain function.
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“As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”
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In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.
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fact-finding
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problem-finding
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Next, idea-finding
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there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
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For the first time, research shows that American creativity is declining. What went wrong-and how we can fix it.
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The Reading Brain in the Digital Age: The Science of Paper versus Screens - Scientific ... - 25 views
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The matter is by no means settled. Before 1992 most studies concluded that people read slower, less accurately and less comprehensively on screens than on paper. Studies published since the early 1990s, however, have produced more inconsistent results: a slight majority has confirmed earlier conclusions, but almost as many have found few significant differences in reading speed or comprehension between paper and screens. And recent surveys suggest that although most people still prefer paper—especially when reading intensively—attitudes are changing as tablets and e-reading technology improve and reading digital books for facts and fun becomes more common.
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Compared with paper, screens may also drain more of our mental resources while we are reading and make it a little harder to remember what we read when we are done. A parallel line of research focuses on people's attitudes toward different kinds of media. Whether they realize it or not, many people approach computers and tablets with a state of mind less conducive to learning than the one they bring to paper.
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Both anecdotally and in published studies, people report that when trying to locate a particular piece of written information they often remember where in the text it appeared. We might recall that we passed the red farmhouse near the start of the trail before we started climbing uphill through the forest; in a similar way, we remember that we read about Mr. Darcy rebuffing Elizabeth Bennett on the bottom of the left-hand page in one of the earlier chapters.
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At least a few studies suggest that by limiting the way people navigate texts, screens impair comprehension.
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Because of their easy navigability, paper books and documents may be better suited to absorption in a text. "The ease with which you can find out the beginning, end and everything inbetween and the constant connection to your path, your progress in the text, might be some way of making it less taxing cognitively, so you have more free capacity for comprehension," Mangen says.
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An e-reader always weighs the same, regardless of whether you are reading Proust's magnum opus or one of Hemingway's short stories. Some researchers have found that these discrepancies create enough "haptic dissonance" to dissuade some people from using e-readers. People expect books to look, feel and even smell a certain way; when they do not, reading sometimes becomes less enjoyable or even unpleasant. For others, the convenience of a slim portable e-reader outweighs any attachment they might have to the feel of paper books.
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In one of his experiments 72 volunteers completed the Higher Education Entrance Examination READ test—a 30-minute, Swedish-language reading-comprehension exam consisting of multiple-choice questions about five texts averaging 1,000 words each. People who took the test on a computer scored lower and reported higher levels of stress and tiredness than people who completed it on paper.
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Perhaps, then, any discrepancies in reading comprehension between paper and screens will shrink as people's attitudes continue to change. The star of "A Magazine Is an iPad That Does Not Work" is three-and-a-half years old today and no longer interacts with paper magazines as though they were touchscreens, her father says. Perhaps she and her peers will grow up without the subtle bias against screens that seems to lurk in the minds of older generations. In current research for Microsoft, Sellen has learned that many people do not feel much ownership of e-books because of their impermanence and intangibility: "They think of using an e-book, not owning an e-book," she says. Participants in her studies say that when they really like an electronic book, they go out and get the paper version. This reminds Sellen of people's early opinions of digital music, which she has also studied. Despite initial resistance, people love curating, organizing and sharing digital music today. Attitudes toward e-books may transition in a similar way, especially if e-readers and tablets allow more sharing and social interaction than they currently do.
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The Reading Brain in the Digital Age: The Science of Paper versus Screens: Scientific A... - 103 views
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prevented them from zooming out to see a neighborhood, state or country
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This explains, in real terms, why I've had so much struggle with online reading! Very interesting article.
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Because of these preferences—and because getting away from multipurpose screens improves concentration—people consistently say that when they really want to dive into a text, they read it on paper
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This is backed up by a recent article: Faris, Michael J., and Stuart A. Selber. "E-Book Issues In Composition: A Partial Assessment And Perspective For Teachers." Composition Forum 24.(2011): ERIC. Web. 31 Mar. 2013.
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Surveys and consumer reports also suggest that the sensory experiences typically associated with reading—especially tactile experiences—matter to people more than one might assume.
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When reading a paper book, one can feel the paper and ink and smooth or fold a page with one's fingers; the pages make a distinctive sound when turned; and underlining or highlighting a sentence with ink permanently alters the paper's chemistry.
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discernible size, shape and weight.
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Although many old and recent studies conclude that people understand what they read on paper more thoroughly than what they read on screens, the differences are often small. Some experiments, however, suggest that researchers should look not just at immediate reading comprehension, but also at long-term memory.
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When taking the quiz, volunteers who had read study material on a monitor relied much more on remembering than on knowing, whereas students who read on paper depended equally on remembering and knowing.
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E-ink is easy on the eyes because it reflects ambient light just like a paper book, but computer screens, smartphones and tablets like the iPad shine light directly into people's faces.
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the American Optometric Association officially recognizes computer vision syndrome.
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People who took the test on a computer scored lower and reported higher levels of stress and tiredness than people who completed it on paper.
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Although people in both groups performed equally well on the READ test, those who had to scroll through the continuous text did not do as well on the attention and working-memory tests.
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Subconsciously, many people may think of reading on a computer or tablet as a less serious affair than reading on paper. Based on a detailed 2005 survey of 113 people in northern California, Ziming Liu of San Jose State University concluded that people reading on screens take a lot of shortcuts—they spend more time browsing, scanning and hunting for keywords compared with people reading on paper, and are more likely to read a document once, and only once.
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When reading on screens, people seem less inclined to engage in what psychologists call metacognitive learning regulation—strategies such as setting specific goals, rereading difficult sections and checking how much one has understood along the way
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Perhaps she and her peers will grow up without the subtle bias against screens that seems to lurk in the minds of older generations.
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They think of using an e-book, not owning an e-book,"
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Participants in her studies say that when they really like an electronic book, they go out and get the paper version.
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When it comes to intensively reading long pieces of plain text, paper and ink may still have the advantage. But text is not the only way to read.
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it is difficult to see any one passage in the context of the entire text.
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Music That Represents Culture: Selecting Music with Integrity: EBSCOhost - 4 views
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The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).
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In other words, authenticity lies within the perceptions of the individual.
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Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.
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Ethnomusicologist Bruno Nettl explains that "societies differ, however, in their attitude toward musical stability; to some it is important that a song remain stable and unchanged, while in others individual singers are encouraged to have their personal versions."
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but he believes educators must determine at what point that musical experience is no longer acceptable as representative of that culture.
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Having clear visions of educational goals and the broad curriculum is vital to making these determinations.
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Bennett Reimer states, "Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, 'knowing about' becomes an essential ingredient of artistry and of listening."[ 15] For example, children might not fully understand the meaning of "Take Me Out to the Ball Game" unless they understand what baseball is or realize that the song is traditionally sung at baseball games.
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text in an unfamiliar language should include a translation so students understand the meaning of the words.
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However, a culturally valid work is not necessarily bias free; and conversely, bias-free music is not necessarily culturally valid.
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Selecting the best music to represent a culture in an unbiased manner is a process of discovery. You will first need to educate yourself before you can educate others.
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Novel HyperDoc Template (Elementary Level) - Google Slides - 40 views
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Looking in the Wrong Places | Edge.org - 5 views
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We should be very careful in thinking about whether we’re working on the right problems. If we don’t, that ties into the problem that we don’t have experimental evidence that could move us forward. We're trying to develop theories that we use to find out which are good experiments to make, and these are the experiments that we build. We build particle detectors and try to find dark matter; we build larger colliders in the hope of producing new particles; we shoot satellites into orbit and try to look back into the early universe, and we do that because we hope there’s something new to find there. We think there is because we have some idea from the theories that we’ve been working on that this would be something good to probe. If we are working with the wrong theories, we are making the wrong extrapolations, we have the wrong expectations, we make the wrong experiments, and then we don’t get any new data. We have no guidance to develop these theories. So, it’s a chicken and egg problem. We have to break the cycle. I don’t have a miracle cure to these problems. These are hard problems. It’s not clear what a good theory is to develop. I’m not any wiser than all the other 20,000 people in the field.
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I’m still asking myself the same question that I asked myself ten years ago: "What is going on in my community?" I work in the foundations of physics, and I see a lot of strange things happening there. When I look at the papers that are being published, many of them seem to be produced simply because papers have to be produced. They don’t move us forward in any significant way. I get the impression that people are working on them not so much because it’s what they’re interested in but because they have to produce outcomes in a short amount of time. They sit on short-term positions and have short-term contracts, and papers must be produced.
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The field that I mostly work in is the foundations of physics, which is, roughly speaking, composed of cosmology, the foundations of quantum mechanics, high-energy particle physics, and quantum gravity. It’s a peculiar field because there hasn’t been new data for almost four decades, since we established the Standard Model of particle physics. There has been, of course, the Higgs particle that was discovered at the LHC in 2012, and there have been some additions to the Standard Model, but there has not been a great new paradigm change, as Kuhn would have put it. We’re still using the same techniques, and we’re still working with the same theories as we did in the 1970s.
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That makes this field of science rather peculiar and probably explains why there hasn’t been much progress. But it’s not like we don’t have any questions that need to be answered. There are a lot of questions that have been around for decades. For example, what is dark energy? What is dark matter? What are the masses of the Standard Model particles? And what’s up with the foundation of quantum mechanics? Is a theory that's fundamentally not deterministic, where we cannot predict outcomes, the last word that we have, or is there something more to it? Is there maybe another underlying structure to reality?
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but we haven't reached the fundamental level. Maybe we will never reach it. Certainly, the theories that we have right now are not all there is. The question is, of course, if we don’t have any guidance by experiment, how do we make progress? And are we doing the right thing?
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We’ve reached this point where we have to carefully rethink if the criteria that we’re using to select our theories are promising at all. If one looks at the history of this field in the foundations of physics, progress has usually been made by looking at questions that, at least in hindsight, were well posed, where there was an actual mathematical contradiction. For example, special relativity is incompatible with Newtonian gravity. If you try to resolve this incompatibility, you get general relativity.
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There are various similar examples where such breakthroughs have happened because there was a real problem. There was an inconsistency and people had to resolve it. It had nothing to do with beauty. Maybe beauty was, in some cases, the personal motivation of the people to work on it. There’s certainly some truth to this, but I don’t think it’s good to turn this story around and say that if we only pay attention to this motivation that comes from ideals of beauty it will lead to progress.
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If we are working with the wrong theories, we are making the wrong extrapolations, we have the wrong expectations, we make the wrong experiments, and then we don’t get any new data. We have no guidance to develop these theories. So, it’s a chicken and egg problem. We have to break the cycle. I don’t have a miracle cure to these problems. These are hard problems. It’s not clear what a good theory is to develop. I’m not any wiser than all the other 20,000 people in the field.
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The way that research is funded in foundations of physics and in many other fields just puts a lot of things at a disadvantage that are not pursued anymore. Typically, everything that takes longer than three years to complete, no one will start it because they can’t afford it. They can literally not afford it.
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Who makes the decisions about the funding? Superficially, people say that it's a funding agency, so it’s the university who get to hire people. But that puts the blame on the wrong party. In the end it’s the community itself who makes the decisions. What do the funding agencies do if they get a proposal? They send it to reviewers. And who are the reviewers? They're people from the same community. If you look at how hiring decisions are being made, there’s some committee and they are people from the same community. They have some advisory boards or something, which contains people from the same community.
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Even if that wasn’t so, what the people in these committees would be doing is looking at easy measures for scientific success. Presently, the most popular of these measures are the number of publications and the number of citations. And maybe also whether the person has published in high-impact journals. So, these are the typical measures that are presently being used. But what do they measure? They primarily measure popularity. They indicate whether somebody’s research is well received by a lot of people in the same community. And that’s why once a research area grows beyond a certain critical mass, you have sufficiently many people who tell each other that what they’re doing is the good thing to do. They review each other’s papers and say that that’s great and it's what we should continue to do. It’s a problem in all communities that grow beyond a certain size.
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I later came to the United States and then Canada, and that gave me the opportunity to learn a lot about quantum gravity. I also figured out that much of what goes on in quantum gravity is very detached from reality. It’s pretty much only mathematics. Yes, the mathematics is there, but I still don’t know if it’s the mathematics that describes reality.
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That’s the very reason why we don’t normally think of gravity as a weak force. It’s the only force that is left over on long distances, and the reason for this is that it adds up. It gets stronger the more mass you pile up. More precisely, we should say that the reason we find it so hard to measure quantum gravitational effects is that we either have a particle that has very pronounced quantum properties, like, say, a single electron or something like that, but then it’s so light that we cannot measure the gravitational field. Or we have some object that is so heavy that we can measure the gravitational field, but then it doesn’t have quantum properties. Okay, so that’s the actual problem.
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shared by clbrink on 01 Jun 18
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7 Key Considerations for Online and Blended Learning Programs -- THE Journal - 19 views
thejournal.com/...blended-learning-programs.aspx
tie tieclass flipped blended online learning blended learning
shared by clbrink on 01 Jun 18
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Online courses provide students with a level of flexibility and choice
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Infuse digital literacy and citizenship into your online strategy. "
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Find a good partner to work with
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Reach out when students appear to be struggling.
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Use online learning to reach a more diverse group of learners.
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Put a spotlight on interpersonal communications.
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strong collaboration between students, teachers and parents.
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. The discussions are asynchronous, so students can share their input when it best suits them.
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Outline the virtual school's objectives and goals early in the game.
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discipline, commitment, and organization are key traits for any successful student,
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four- to five-day orientation course
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Validation of the Kenny Music Performance Anxiety Inventory (K-MPAI): A cross... - 1 views
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Barlow (1988, 2000, 2002) argued that panic attacks, which he called “false alarms,” arise in response to stressful life events (such as music performance) in people who experience high levels of general anxiety.
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Chang-Arana, Á. M., Kenny, D. T., & Burga-León, A. A. (2018). Validation of the Kenny Music Performance Anxiety Inventory (K-MPAI): A cross-cultural confirmation of its factorial structure. Psychology of Music, 46(4), 551–567. https://doi.org/10.1177/0305735617717618
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Greta Thunberg Arrives in New York After Sailing Across Atlantic | Time - 3 views
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arrived in
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embarked
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attend
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disembarking
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vessel
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Sea levels are rising and so are we
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weary
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forcefully
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crisis
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faced
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convince
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g launched
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attention
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emissions
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credited
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urgency
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encouraged
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vessel
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emission-free
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equipped
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measuring
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surface
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acknowledges
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lacks
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amenities
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cooking facilities
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impacting
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raise awareness
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antidote
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get involved with
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determined
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disconnected
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wilderness
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literally
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arrived in
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a 16-year-old
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Music performance anxiety and occupational stress amongst opera chorus artists and thei... - 3 views
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There has been no study exploring the prevalence or characteristics of MPA among professional choral musicians, who may be considered a vocal analogue of orchestral musicians. There may be systematic differences among different types of musicians regarding the level of performance anxiety experienced.
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Chorus artists were ideal subjects for the proposed study because they are a clear exemplar of a group of musicians with high performance demands and expectations who have heavy rehearsal and performance schedules.
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While this study suggests that treatment efforts be directed at reducing MPA rather than occupational stress, further investigation of the relationship between occupational stress and trait anxiety is needed.
12 Sources of Creative Writing Projects for All School Levels - 24 views
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shared by mgranger on 01 Apr 11
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Media and Technology Resources for Educators | Common Sense Media - 15 views
www.commonsensemedia.org/educators
InternetSafety digitalcitizenship cyberbullying Internet_safety cipa
shared by mgranger on 01 Apr 11
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gital driver's license
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with complete confidence. Our online trainings show you how. More about parent professional development Research Credentials Check out our DNA. Our programs are built on respected digital ethics research. More about parent research credentials Turn wired students into great digital citizens Get all the tools you need with our FREE Digital Literacy and Citizenship Curriculum and Parent Media Education Program. The relevant, ready-to-use instruction helps you guide students to make safe, smart, and ethical decisions in the digital world where they live, study and play. Every day, your students are tested with each post, search, chat, text message, file download, and profile update. Will they connect with like minds or spill ... read more Get started Browse our classroom lessons and parent education resources by grade level or topical area. select gradeK123456789101112 select topicCell phones & digital communicationCyberbullying & online relationshipsDigital creation, plagiarism & piracyFamily media managementGaming & online worldsInternet safetyMedia's influence on kidsOnline privacy and securityOnline research & learningSocial networking & communityViolence in media Get Started Educator Updates Common Sense announces di gital driver's license Common Sense Media announced plans to create a digital driver’s license, an interactive online game that will teach kids the basics of how to be safe and responsible in a digital world. Read more about our plans for interactive curriculum modules
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Lesson plans, articles, and tools to teach Digital Citizenship and Internet Safety -
Internet safety FREE curriculum and implementation guides. The site has admin, teacher, and student resources. Digital Passport is one of the Internet Safety programs available.
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Newsroom | Alliance for Childhood - 1 views
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In many kindergarten classrooms there is no playtime at all. Teachers say the curriculum does not incorporate play, there isn’t time for it, and many school administrators do not value it.
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Then you can't really blame teachers here. Policy/curriculum has to change.
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“We have had a politically and commercially driven effort to make kindergarten a one-size-smaller first grade. Why in the world are we trying to teach the elementary curriculum at the early childhood level?”
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Finnish children similarly have a lengthy and playful childhood, not beginning formal schooling until age 7. Yet Finland consistently gets the highest scores on international exams.
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Crisis in the Kindergarten describes the current state of public kindergartens in the U.S. as “a national disgrace.”
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New studies show play losing out to formal lessons and tests, even though multiple benefits of imaginative play are well documented
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The rise of creative youth development: Arts Education Policy Review: Vol 118, No 1 - 3 views
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The article describes creative youth development in the larger contexts of arts education and of education reform.
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Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.
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Yet these two worlds largely exist apart, failing to address the reality that youth learn and grow—or fail to reach their potential—through influences and experiences in all spheres of their lives, including home, school, and the settings where they spend time outside of schoo
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attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking
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such as heightened confidence and sense of agency
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Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth
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Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.
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The creative process at the center of CYD programs contributes to profound personal growth for youth participants
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And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”
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community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat
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hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.
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impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities
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She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (
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Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—
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Science-Class Anatomy Resources - 76 views
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A large list of anatomy resources. Includes labs categorized by system, online quizzes, review games, vocabulary development, graphic organizers, presentations, and more. -
Checked through a bunch of these-they seem suited to middle school human bio. Anybody have a similar source for high school level?
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Using Diigo in the Classroom - Student Learning with Diigo - 66 views
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Save important websites and access them on any computer. Categorize websites by titles, notes, keyword tags, lists and groups. Search through bookmarks to quickly find desired information. Save a screenshot of a website and see how it has changed over time. Annotate websites with highlighting or virtual "sticky notes." View any annotations made by others on any website visited. Share websites with g
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Extended Learning
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Bookmark Lists
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Personal Student Bookmarks
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Diigo can provide a way to enrich or extend learning about a topic.
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Beyond extended student learning, Diigo can be used as a form of professional development.
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Research Teaching students to research is a common standard across all grade levels, elementary, middle school, high school, and beyond. Diigo excels as a research tool: Students can save relevant websites to lists in their Diigo student accounts. Each saved bookmark captures the URL and a screenshot, and can be searched later. Students can highlight important information right on the website, using Diigo. Later, when students return to the website, they find the reason they saved the bookmark in the first place. Students can use virtual sticky notes to summarize the important points of information from the website. This activity will mimic the time-tested procedure of using note cards to summarize and organize research projects. Students working on similar topics can create and join groups in order to collaborate. Later, when students need to document their sources, Diigo can be used to recall website URLs for citing sources.
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How in the WORLD do I do the social part of it?? This seems useful, but I'm still trying to figure out how to let the kids collaborate on Outliners and then share the Outliners with me easily. I bet there's something huge that I'm missing here...
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shared by Martin Leicht on 14 Nov 19
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Leaders Don't Hide Behind Data - 6 views
sloanreview.mit.edu/...leaders-dont-hide-behind-data
data leadership human connections relationships empathy
shared by Martin Leicht on 14 Nov 19
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A/B testing is a trap because it insulates us from A/J testing. A/B testing is an asymptotic stroll toward a local maximum.
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And busyness is a trap because it allows us to believe that we’ve actually created value.
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What you’re not doing is inspiring your team to level up. What you’re not doing is inventing a new game. Instead, you’re playing someone else’s game.
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Creating a mechanics, dynamics, & aesthetics (game) comes with risk(s). And one can understand why we stick to creating value and management.
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There are two traps
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First, it’s easier than ever to do A/B testing
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Second, it’s easier to stay busy.
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Leadership is the art of doing things you’re not sure of, and doing them with enrollment instead of authority.
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On the other hand, leadership is voluntary. Those who follow you must be enrolled in your journey and persuaded to follow (and contribute to) your vision.
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Digital charisma doesn’t feel like management, and it requires alternative channels. Human channels. Channels that involve actually showing up, not hiding behind a system.
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how can you possibly listen back?
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We can learn quite a bit from how the modern cultural leaders of Instagram and Facebook use their platform, despite so many of their habits we’d prefer to avoid.
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Through FB and IG modern cultural leaders affect change because they have "chosen" to do so. Not because anyone game them the authority. They chose to tell a different story.
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Deep Listening to the Musical World: EBSCOhost - 1 views
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Deep-listening experiences, wrapped in a pedagogy of music listening, take students far beyond the surface of their barely noticeable surround-sound environment and into the nature of music and its workings.
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Attentive-listening experiences occur when teachers point out specified points of focus, put questions or challenges to the listeners, or merge graphics or visuals with the sound experience itself. Graphs or maps of particular musical features can be helpful, since visual cues may enhance listening. Teachers can provide diagrams of the contours of the melody or depict rhythmic components of a piece through iconic symbols-staff notation, splotches of color, or geometric shapes, for example. Instruments, real or illustrated, can focus student attention on their entrance or continuing presence in the music.
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Engaged listening invites listeners to enter into the groove or the flow of the music, pick a part to contribute, and consequently feel more involved in the music. A phenomenon of "participatory consciousness"[ 5] unfolds as engaged listeners find their place in the music, find something in the music to hang on to (a melody, a pulse, an ostinato, a groove), and select a contribution to make back to the music. In this way, they connect with the music, joining the recorded musicians and their live participant-colleagues in a musical team.
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The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.
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Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.
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Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.