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Nigel Coutts

Language moves for identity - The Learner's Way - 8 views

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    What changes when we refer to ourselves or our students as members of the community of thinkers and learners that they are apprenticed to? What changes when we are mindful in our use of a language of identity?
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - 7 views

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

Building Students Thoughts by @ApraRalli - 3 views

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    "When we set out to create and encourage critical thinkers and problem solvers. We need to look at various aspects. How people will respond and adapt to the change. We need to further establish what our students need, do they need constant attention or space? Decoding a teenage brain, is it really difficult to understand teenagers?  I took workshops this year to enhance my understanding and sharing my know how with others.  I have realised that I always look for what's going to push the student, egg them on to ask questions, to look at themselves as stakeholders in their learning process and something that adds value to their existing experience of learning. "
Martin Burrett

Book: Developing Tenacity by @LucasLearn & @DrEllenSpencer - 2 views

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    "What are those key phrases you hear from frustrated teachers in the staffroom during breaks? Or on those rare occasions, you get to meet up with teachers from other schools on training courses? For me it is the following: 'They give up so easily,' 'Where is their stickability?' 'Why do they fear making a mistake?' However it is phrased, you get the gist, that pupils today have no resilience, they aren't prepared to keep going in the face of challenge or set back. They can't think their way around a problem. In discussions with staff within my own school (a large primary in an area of high deprivation in the north of England) I am frequently asked how we can help these children. As part of our school's SLT I have already supported staff to make daring changes to our curriculum but we still seem to be falling short of what we state in our vision; that we want our children to become resilient learners, confident individuals, critical thinkers and lifelong learners. (Traits that I am sure many schools up and down the land wish for their pupils to develop.) Why are our pupils struggling with 'resilience'? What opportunities can we, as a school, provide our children so that they develop these skills? After reading the blurb and the introductory pages, I was, as you can imagine, excited to delve further into this book to see if it could answer some of my questions."
Quynh Vu Do

What YouTube and Hollywood Divas Can Teach You About Active Learning | EdSurge News - 10 views

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    "Some of the most dynamic thinkers and doers in education today are pioneers in active learning. Their pedagogy promotes the four Cs that the National Education Association (NEA) deems necessary "for success in college, career, and citizenship in the 21st century": critical thinking, creativity, communication, and collaboration."
Clint Heitz

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

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

Birmingham Covington: Building a Student-Centered School | Edutopia - 41 views

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    Learn more about Thinkering Studio here: http://balancedtech.wikispaces.com/Thinkering+Studio
drmaddin

Kentucky Department of Education : Attributes of a Standards Based Unit of Study - 0 views

  • Proposes essential questions that address selected content strands, promote students' thinking, result in active application of learning, and draw attention to the relevance of learning in students' lives
  • Contains authentic assessments that include appropriate writing tasks (i.e., open response, on-demand, and portfolio-appropriate writing tasks) that reflect the identified content and performance standards and essential questions
  • eal-world understanding and lifelong application of learning incl
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  • inquiry and problem-based learning activities a
  • creative thinker, problem-solver/generator,
  • academic/physical/social/emotional needs
  • culturally relevant resources
  • ifferent cultural perspectives
  • technology
  • variety of assessment options
Tim Cooper

30 years of collaboration towards empowering children to be creative thinkers on Vimeo - 9 views

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    Great video about Seymour Papert, the Media Lab, Lego Mindstorms and the development of both the Mindstorms robot platform, Scratch and inspiring learning. A little feel good for Lego and MIT but the overall history is correct and inspiring.
Deborah Baillesderr

SURVIVAL A Simulation Game - 68 views

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    This survival simulation is great fun for middle to high school students. It achieves many of the 21st century skill sets and it gives great insight on how your student population thinks as far as if they are in-the-box or out-of-the-box thinkers.
BalancEd Tech

thinkeringstudio - Jumpstarts - 53 views

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    Maker Ed - Genius Hour - Thinkering Studio Scaffolding for: - 3D Printing - Animation & Stop Motion - Digital Photography - Digital Video - Electronics - Game Making - Guitar - Podcasting - Programming - and more
anonymous

WW_SpaceThinkMath.pdf - 37 views

  • Asking good questions and encouraging students to build on one another’s thinking gives students voice and enables them to become more critical thinkers in mathematics.
    • anonymous
       
      Good strategy for use in any content area classroom!
  • students move into pairs to write their ideas, solutions, and strategies. A variety of materials, such as linking cubes and two-colour counters, are available for students to choose from when constructing mathematical models, making conjectures, and connecting their ideas.
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    • anonymous
       
      Wouldn't it be great to use mobile devices to document their manipulatives and narrate their thinking out loud using an app such as Educreations? 
  • Scaffolding students’ exploration of a rich task too early can take away students’ opportunities to explore and build confidence with solving problems in their own way.
    • anonymous
       
      May need some opportunities to fail to make the learning richer and more personal.
  • Following each presentation, students are invited to paraphrase what the presenters have shared, to ask questions for clarification, to elab-orate on the presentation, and perhaps to challenge the presenters with a possible correction or alternative approach.
    • anonymous
       
      Reflective learning!
Matt Renwick

Education Week: Teachers, Don't Forget Joy - 19 views

  • talked of all the rich research we have to help our students grow smarter as readers, writers, and thinkers
  • overlooked something in our discussion
  • three-letter word we take for granted
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  • missing in the recent conversations
  • I step into a classroom and learn alongside teachers and kids
  • It is about a deep-felt sense of wonder, of expectation, of delight, of engagement.
  • How different school would be if joy fueled each day's experience of learning.
  • joyless space we have created for students and ourselves.
  • everyone is both teacher and learner.
Matt Renwick

Why Is Innovation So Hard? - 47 views

  • How does innovation occur?  Through an inefficient process of ideation, exploration, and experimentation.
  • we create new value by combining seemingly unrelated things or ideas in new ways, transferring something from one environment to another, or finding new insights in patterns or aberrations. Innovative ideas rarely emerge from an “aha!” moment. Instead, they usually arise from thinking differently than we normally think and from learning.
  • we are highly efficient, fast, reflexive thinkers who seek to confirm what we already know.
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  • we are cognitively blind to disconfirming data and challenging ideas.
  • To innovate, people have to take their normal thinking to a much higher level. Most of us have to be taught how to do that.
  • Fear of failure, fear of looking bad, and fear of losing our job if we make mistakes all can lead to what Chris Argyris called “defensive reasoning”: the tendency to defend what we believe. This makes it hard to get outside of ourselves in order to “think out of the box.”
  • most organizations exist to produce predictable, reliable, standardized results. In those environments, mistakes and failures are bad.
  • To innovate, you must simultaneously tolerate mistakes and insist on operational excellence.
  • Humility, empathy, and the devaluation of hierarchical rank were critical to making this new culture work.
Roland Gesthuizen

Institute of the Modern Learner - 21 views

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    "The Institute has been established with the goal of re-engaging those who have become discouraged with the system and we are in desperate need of more Thinkers. We want you to apply because of your expertise in the field of Modern Learning, an area of study that has been too often neglected in our time."
Daryl Bambic

How a Radical New Teaching Method Could Unleash a Generation of Geniuses | Wired Business | Wired.com - 54 views

shared by Daryl Bambic on 24 Oct 13 - No Cached
    • Daryl Bambic
       
      Natural selection and learning: asking questions and being curious is adaptive behaviour.
  • inland pared the country’s elementary math curriculum from about 25 pages to four, reduced the school day by an hour, and focused on independence and active learning. By 2003, Finnish students had climbed from the lower rungs of international performance rankings to first place among developed nations.
  • emphasizing student-led learning and collaboration.
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  • The teaching method makes little difference,” he says.
Daryl Bambic

How a Radical New Teaching Method Could Unleash a Generation of Geniuses | Wired Business | Wired.com - 28 views

  • To them, knowledge isn’t a commodity that’s delivered from teacher to student but something that emerges from the students’ own curiosity-fueled exploration.
  • eachers provide prompts
  • they step aside so students can teach themselves and one another.
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  • Potential.”
  • “So,” Juárez Correa said, “what do you want to learn?”
  • “If you put a computer in front of children and remove all other adult restrictions, they will self-organize around it,” Mitra says, “like bees around a flower.”
  • There will be no teachers, curriculum, or separation into age groups—just six or so computers and a woman to look after the kids’ safety. His defining principle: “The children are completely in charge.”
  • Theorists from Johann Heinrich Pestalozzi to Jean Piaget and Maria Montessori have argued that students should learn by playing and following their curiosity.
  • Google founders Larry Page and Sergey Brin similarly claim that their Montessori schooling imbued them with a spirit of independence and creativity.
  • The study found that when the subjects controlled their own observations, they exhibited more coordination between the hippocampus and other parts of the brain involved in learning and posted a 23 percent improvement in their ability to remember objects.
  • if you’re not the one who’s controlling your learning, you’re not going to learn as well
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