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anonymous

QR Code Treasure Hunt Code from classtools.net - 10 views

shared by anonymous on 11 Oct 12 - No Cached
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    Generate a treasure hunt with QR codes based on questions and answers you create.  Great way to review concepts or get students thinking and moving.
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    QR Code Treasure Hunt Game
Tony Bollino

QRPhoria - The Beautiful QR Code Code - Home - 9 views

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

QRlicious - 2 views

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    Welcome to the home of custom QR codes! We have a passion for pushing the limits of QR design. But don't take our word for it, find out for yourself
Mu He

TagMyDoc - 79 views

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    A great online tool for uploading, storage and sharing documents by link or QR code. Simply upload your item to generate both to share. http://ictmagic.wikispaces.com/ICT+%26+Web+Tools
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    Adds a QR code to document that when scanned provides a copy of the document. Could be added to the syllabus and other handouts.
Kathleen N

Gale - Widgets - 0 views

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    If you subscribe to Gale Databases ... Gale's new customizable widgets are simple but powerful tools that generate short HTML code to be placed directly into any page on yur Web site. Most widgets also provide an option for adding to your facebook profile and iGoogle pages
Christopher Lee

Why I Like Prezi - 0 views

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    Why I Like Prezi In my life, I have given a *lot* of presentations. In high school, they were presentations on group projects. In university, they were presentations on research projects. At Google, they're presentations on how to use our APIs. When I first started giving presentations, I used Powerpoint, like everyone else. But I kept thinking there must be a better way, and I experimented with other options - flash interfaces, interactive Javascript apps. Then I discovered Prezi, and it has become my presentation tool of choice. Prezi is an online tool for creating presentations - but it's not just a Powerpoint clone, like the Zoho or Google offering. When you first create a Prezi, you're greeted with a blank canvas and a small toolbox. You can write text, insert images, and draw arrows. You can draw frames (visible or hidden) around bits of content, and then you can define a path from one frame to the next frame. That path is your presentation. It's like being able to draw your thoughts on a whiteboard, and then instructing a camera where to go and what to zoom into. It's a simple idea, but I love it. Here's why: It forces me to "shape" my presentation. A slide deck is always linear in form, with no obvious structure of ideas inside of it. Each of my Prezis has a structure, and each structure is different. The structure is visual, but it supports a conceptual structure. One structure might be 3 main ideas, with rows of ideas for each one. Another might be 1 main idea, with a circular branching of subideas. Having a structure helps me to have more of a point to my presentations, and to realize the core ideas of them. It makes it easy to go from brainstorming stage to presentation stage, all in the same tool. I can write a bunch of thoughts, insert some images, and easily move them around, cluster them, re-order them, etc. I can figure out the structure of my presentation by looking at what I have laid out, and seeing how they fit together. Some people do this
Roland Gesthuizen

The Future of Ed-Tech (Infographic) | Blog | eClassroom News - 63 views

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    "In a recent post, Edudemic introduced us to a very intricate, color-coded visualization by Envisioning Tech on what to expect in education technology in the next 30 years or so. And these concepts are not broad generalizations- Envisioning Tech takes topics like digitized classrooms and tangible computing and segments them into practical ideas to produce a well-organized, cohesive diagram"
Trevor Cunningham

Flash Media Playback Setup - 23 views

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    Code Code produces flashvars required to allow fullscreen display in Google Sites embedded flash video. Messy, but it works.
Lisette Casey

Tools 4 noobs - tools you didn't even know you needed - 102 views

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    This site lets you generate embed codes from URLs for Youtube and Vimeo and other sites directly from an iPad for blog posting.
Sasha Thackaberry

Open edX - 21 views

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    Open edX. We're doing an LMS Review at Cuyahoga COmmunity College, and we're looking at what's going on in the marketplace in general. Interesting stuff.
Martin Burrett

As Seen Online… by @ICTmagic - 23 views

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    "Create links & auto generate QR codes on paper strips to glue in books to show pupils when their work or a display has been shown on social media or on your blog. Great for parent's consultations and evidencing for others. But more of all, the pupils love it! Adaptable so you can add your own social media icons."
carmin karasic

Installing BuddyPress ScholarPress courseware 404/Permalinks problem - 0 views

    • carmin karasic
       
      Start with "a fresh BP 1.2.8 install on a fresh WP 3.1. Changed theme to bp default, changed permalink settings, made sure .htaccess contained rewrite rules as generated by BP. mod_rewrite was definitely activated.
  • This entry in httpd.conf helped: ~~ <Directory "/your/path/to/root_dir/of/bp"> Options FollowSymLinks AllowOverride FileInfo Options Allow from all </Directory> ~~ Change the root dir of bp accordingly. After that all the links on tabs, registration etc. worked fine.
Dennis OConnor

Information Investigator 3 by Carl Heine on Prezi - 101 views

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    What if every student (and educator) was a good online researcher?  I know, you don't have the time to teach information fluency skills.  What if you could get a significant advance is skills with just a 2 -3  hour time commitment?  Here's a great Prezi 'fly by" of the new Information Investigator 3.1 online self paced class.  Watch the presentation carefully to find the link to a free code to take the class for evaluation purposes. 
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    Of course you could always have you school librarian/media specialist teach information skills to your students! That's what they do!
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    I couldn't agree more. Library Media Specialists, especially when they can collaborate with classroom teachers, are the best resource for teaching these skills. However the problem of access to a Librarian and the issue of scale are real barriers. I've been creating content for Librarians for a decade. They are the best! You'll find years of free resources at: http://21cif.com This resource will help them reach more students. We had 1000 teens take this course at the Center for Talent Development. It really does work. We're hoping to reach teachers and librarians everywhere so we can pass along the skills and the opportunity. If American education was marginally rational there would be professionally staffed library media centers in every school. Since that isn't the case, I hope Internet based resources can keep the lights on for a new generation that really needs information fluency.
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