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How to Adjust to Your Interactive Whiteboard: Animate Objects and Add Sound «... - 3 views

  • How to Adjust to Your Interactive Whiteboard: Animate Objects and Add Sound There is nothing quite as fascinating to students as words and objects that appear and disappear on command. And if you’re looking for a giggle or a laugh, nothing does the trick like an unexpected sound effect when a student is at your board. Embedding sounds and setting up Object Animation is pretty straight-forward. Once you get the hang of it, you’ll be able to add surprise elements quickly and create elaborate, interactive pages sure to capture your students’ attention.
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English 102 - Bear | Blog | The review of Ideas - 14 views

shared by Ryan Trauman on 30 Apr 11 - No Cached
  • “If we want to actually reduce the number of divorces, we need to make divorce less appealing to women.”(Davidson). What Davidson is expressing is that women are attracted to divorce. Marriage was once a partnership. “A person doesn’t cling to what they do not need. Therefore a woman will not cling to a man who is not needed.”(Feldman) Feldmon forwards Davidson’s thought, but it adds to it. Marriage is hard enough. If a the partner is not needed why would either party wish to go through the difficulties. “The origins of marriage was a simple set up, the man worked, the woman did not.”(Hendrix) Hendrix continues to expand on a common thought of partnership. Hendrix shows that originally that marriage partners were dependent on each other. The woman was dependent on the man for money and the man dependent on the woman for the upkeep of the house. Was it the best system? Possibly. Couples stuck together back then. They fought tooth and nail to keep their marriage strong and did what was best for the family. However, no one disagrees with women becoming part of the work force. “We need to find a middle ground”(Cochrane). Cochrane is speaking on  the terms of interdependence. She is saying that there has to be a middle ground between the powers.
    • Ryan Trauman
       
      Excellent "conversational style" here, Daniel.
  • very article agrees on one thing.
    • Ryan Trauman
       
      Good, but where are you other sources? If everyone agrees, can you show us little pieces of text that deomonstrate how they agree?
  • Hendrix
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  • Hendrix
  • Anderson
  • Cochrane
  • Feldman
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University Presses Are Urged to Work Together to Survive - Publishing - The Chronicle o... - 7 views

shared by anonymous on 08 Jul 11 - No Cached
    • anonymous
       
      I'm struck by the fact that this article is quick to warn that social networking voting models are likely to be "gamed" by interested parties. The report itself notes that "monographs remain largely static objects ... instead of being vibrant hubs for discussion and engagement" (3). If this is going to be a success as we move forward, I think a balance will need to be found between those two poles.
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Digital Citizenship Week: 6 Resources for Educators | Edutopia - 81 views

    • Jason Bihler
       
      BrainPop is great for younger students!  Make sure to forward this.
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    Digital Citizenship Week: 6 Resources for Educators | Edutopia Great article with a number of clickable resources.
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Digital Student Portfolios | Reading By Example - 120 views

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    Looking forward to it!
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Malala wins Nobel Peace Prize | News | First News - 13 views

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iPads in Education - Exploring the use of iPads and mobile devices in education. - 187 views

  • How does the releaseof iOS 5 impact you? Multitouch gestures, Notification Center, an upgraded Safari browser, Newstand and more. iOS 5 comes with over 200 new features. Which ones will you use most - both personally and professionally? Share your opinions... News & Views Videos Using an iPad as a Document Camera Added by Sam Gliksman0 Comments 0 Likes First Look: Apple's iOS 5 Added by Sam Gliksman0 Comments 0 Likes Impromptu Field Trip Added by Skip Via0 Comments 0 Likes Add Videos View All xg.addOnRequire(function () { x$('.module_video').mouseover(function () { x$(this).find('.video-facebook-share').show(); }) .mouseout(function () { x$(this).find('.video-facebook-share').hide(); }); }); #iPadEd on Twitter Use the hashtag #iPadEd to tweet with network members // iPads in Education Tweets SamGliksman RT @kcalderw: Last call for participants for an iPad in Edu survey for Masters class. Looking for teachers who use them. #ipadchat #ipaded4 hours ago · reply · retweet · favorite buddyxo Coding on the iPad: http://t.co/J55XxcXl. Looki
  • Finally, the goal of this community is to promote innovation in education through the use of technology. The site is not sponsored by Apple nor does it endorse the use of any specific technology or product.
  • Finally, the goal of this community is to promote innovation in education through the use of technology. The site is not sponsored by Apple nor does it endorse the use of any specific technology or product.
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  • Tablet computing and mobile devices promise to have a dramatic impact on education. This Ning network was created to explore ways iPads and other portable devices could be used to re-structure and re-imagine the processes of education.
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    EXCELLENT SITE!
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    Lists of apps for k-6, teachers and parents
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A step back in time is a great leap forward for multi-sensory learning - 7 views

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    "Imagine lying on the floor of a Tudor hall and gazing up at the expressions of art all around you, listening to the sound of melodies Henry VIII  would have heard, or breathing in the scent of seasonal herbs that have graced a kitchen garden for three hundred years. These wonderful experiences would be a treat to the senses for any of us, but for our students who are working towards or at Entry Level 1, multi-sensory learning is an essential part of engaging with the world around them."
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Reflective Teaching: Looking Back To Move Forward - 6 views

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    "Reflecting on what has been learnt (or not learnt) is vital for our pupils to know where to focus their efforts next. In the same way, reflecting upon one's teaching craft is vital to improvement. Yet too many of us feel we do not have time to reflect because we have to move onto the next lesson or admin task. How can we create the time to pick apart our lessons and what are the best methods to do so?"
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Lessons Learned from Genius Hour - 54 views

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    After eight years of engaging our students with a Personal Passion Project during Term Four we shifted to a 'Genius Hour' model for 2015. In the end the results from the students were impressive but along the way some lessons were learned and we are looking forward to making some minor tweaks for 2016 that should further enhance the learning opportunities.
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The Personal Benefits of Writing Poetry | Writing Forward - 14 views

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    The benefits of reading/writing poetry.
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Flashcard Machine - Create, Study and Share Online Flash Cards - 53 views

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    I am forwarding you a link for an online flashcard generator that I think may be useful. I like this one because you can:\n* Create your own cards \n* You can use the cards from the existing database\no The cards in the database are categorized by \n Age/grade\n subject\n* You can share cards with the database (and therefore your students)\n* You can practice your cards\no On the computer\no By printing them\no By creating an iPod file\n* You can add pictures\n* You can add audio files\nThere are many flashcard generators out there, but this one is free (for registration) and does everything I need plus, being able to review the cards on the ubiquitous iPod is nifty!\n
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Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
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Have you taught online? Your opinion is needed! - 16 views

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    https://www.surveymonkey.com/r/WKZGXX6 Please consider taking my survey. It is anonymous, so I won't be able to send a proper thank you. Please know that I will pay your kindness forward to another doctoral student in need and will send warm thoughts out into the universe for you. Thank you for your consideration and for passing this on to eLearning faculty!

Need your help!! - 25 views

started by Julie Golden on 13 Sep 15 no follow-up yet

Circuitboard Education - 37 views

started by Lyn Lord on 02 Dec 16 no follow-up yet
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