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Martin Leicht

Distracted Minds: Why You Should Teach Like a Poet - 4 views

www.chronicle.com/...y-you-should-teach-like-a-poet

education higher ed students engagement focus build zoom learning

shared by Martin Leicht on 11 Jan 21 - No Cached
  • Routine is a great deadener of attention.
  • When you follow the same routines at home, folding the laundry or doing the dishes, your mind goes on automatic pilot.
  • same generic suite of teaching activities: listen to a lecture, take notes, ask some questions, talk in groups.
  • ...17 more annotations...
  • Be astonished.
  • Pay attention.
  • Through the creative turns of language they use to describe the world and our experiences, the familiar becomes unfamiliar again, and we discover in the everyday world fresh food for insight and reflection.
  • We want them to pay attention to course content, to be astonished by what they find there, and to report back to us and the world what they have discovered.
  • Find an everyday object that connects to your discipline, or a photograph or image that accompanies an article or book in your field.
  • Close — and I mean really close — reading.
  • in which practitioners slowly read the sacred scriptures of Judaism aloud to one another, pausing and discussing and questioning at every turn.
  • Tell about it.
  • asked what they had learned from the experience, and especially what they had noticed about the text that they hadn’t perceived before
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      Metacognition exercise of sorts?
  • Engagement with objects.
  • pointed out anomalies and inconsistencies, and wondered
  • What? For the first step, students spend time just observing the object and taking notes.
  • So what? Students write down questions based on their observations and share them with one another.
  • Now what? The final stage shifts into more whole-class and teacher-centered discussion
  • Attention through assessments.
  • For 13 consecutive weeks, she asked students to leave the campus and make a visit to the nearby Worcester Art Museum in order to spend time in front of the same work of art.
  • As they learned to train their attention on a work of art, their attention brought them insights. They saw more clearly, developed new ideas, and wrote creatively about what they observed.
  • Martin Leicht on 11 Jan 21
     
    Could some or all of this work online to build engagement? 1) close reading 2) engage with objects 3) attention through assessments
Martin Leicht

Treehouse teaching and laundry art: Educators find creative ways to reach kids - 5 views

www.washingtonpost.com/...b-bc68-96af0daae728_story.html

learning zoom online teaching laundry

shared by Martin Leicht on 11 Jan 21 - No Cached
  • was also concerned about her students’ lack of engagement — so few were completing the assignments she emailed to parents
  • Playing with her family’s laundry marked the first time Maliah seemed happy — actually happy — since the start of the pandemic.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - happy - happy is good. Happy kids want to learn or are more likely to learn.
  • Nobody should ever be penalized or put at a disadvantage for the supplies they don’t have,” Dillingham thought to herself. “But everyone’s got laundry!”
  • ...19 more annotations...
  • Clark started an online fundraiser to pay for bikes. He raised more than $10,000, and neighbors donated dozens of bikes and helmets for the rides.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - a little digital citizenship too mixed in with online fund raising.
  • She couldn’t be sure whether her kids were uninterested or whether they lacked the necessary pens, paper and crayons at home.
  • He decided he would take his students on socially distanced bike rides across the city. “It was a leap of faith. I got extremely nervous. I was trying to find a way to connect with kids,” Clark said.
  • her young students are musical detectives, in search of learning. She teaches most grade levels and the school chorus.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - musical detectives searching for music.
  • t he’s found other ways to keep his students engaged and cycling the city. He invited students to a weekly entrepreneurship class for which they rode their bikes uptown from Dunbar to the gym where Clark works, Sweat DC. The students met with the owner of the gym and the owners of a nearby bar, Hook Hall, and the bagel shop Call Your Mother Deli to learn what it takes to run a business.
  • She wanted them to create their own composition, their own snowy-day song.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - used flipgrid for this
  • When Clark wanted to teach them about resilience, he took them through the hilly streets of Georgetown.
  • In lessons for older students, some days there were makeshift drums involved or recorders that students had taken home.
  • she was able to use the treehouse as a key part of her lessons.
  • She lugged a bookshelf, desk and heater into the 5-by-7-foot space, and ran an Ethernet cable from the house so she’d have Internet.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - properly set up
  • before climbing into what passes for her classroom in 2020: her daughters’ decade-old treehouse.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - different locals - maybe something with changing backgrounds.
  • So as one class studied architecture this fall, Daney, 54, encouraged them to walk in their neighborhood to take photos of houses of different styles: ranch, colonial, Victorian.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - use what you have around you.
  • nd he stuck with his usual method of helping students learn about the design process, asking them to prepare a meal. They started with ideas and research, made a plan, carried it out and evaluated it. The result: soups and pastas and pastries.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - edTech class on engineering and design
  • Kids need connection, he said. “I think they’re starving for conversation,” including with adults.
  • In fifth grade, students are expected to learn how to add, subtract, multiply and divide with whole numbers, decimals and fractions. Through a computer application the students have, they can program the robot to move a certain distance, stop, maybe even turn.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - use a robot or technology to achieve the same result.
  • With learning all-virtual, he packs a big Ziploc bag — for each student, each quarter — with things like fishing line, foam board, pipecleaners, magnets, Popsicle sticks and rubber bands. Whatever they will need for their projects.
  • And a lot of the math is a little sneaky. They think they are trying to get the robot to move, when they are actually measuring the angles to get it to move.”  
  • Others complete their math problems directly on the computer, which can lead to some troubles as they try to show their work.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - will share screen be viable.
  • When Kristin Gavaza interviewed for the music teacher position at Dorothy I. Height Elementary in the summer, she told the principal she had some ideas for how to create a festive concert while students were scattered and learning from home.
    • Martin Leicht
      Martin Leicht on 11 Jan 21
       
      NOTE - picture references a complete teacher set up of a large screen and standing desk. Sure, she's video editing yet the concept carries to teaching class too.
  • Martin Leicht on 11 Jan 21
     
    Numerous creative examples to how educators promoted learning on line and worked to build engagement.
Nigel Coutts

Are we there yet? Are we there? - The Learner's Way - 6 views

thelearnersway.net/...are-we-there-yet-are-we-there

learner agency education teaching learning thinking

shared by Nigel Coutts on 20 Jun 20 - No Cached
  • Nigel Coutts on 20 Jun 20
     
    This much-maligned question seems so appropriate for education's recent history. All that was normal, everything that was routine, all of our structures, have been turned upside down and hurled into the wind of COVID19. From having spoken of a future dominated by volatility, uncertainty, complexity and ambiguity (VUCA), we have found ourselves living in it. Innovation and creativity became the new normal as we "Apollo 13" schooling into a model that met the demands of emergency remote learning. The pressure, the workload, the demands on our time and the cognitive load have all been immense, and so it seems fitting to ask "Are we there yet?".
Jeff Andersen

Ten Steps Toward Universal Design of Online Courses - Disability Resource Center - 10 views

ualr.edu/...online-education

Universial Design

shared by Jeff Andersen on 29 Mar 20 - No Cached
  • Jeff Andersen on 29 Mar 20
     
    Ten Steps Toward Universal Design of Online Courses Implementing the principles of universal design in online learning means anticipating the diversity of students that may enroll in your course and planning accordingly. Designing a course with principles of universal design in mind is an ongoing and creative process. One does not achieve the level of usability aspired to with a simple checklist, but with an open mind and a commitment to making design and inclusion a priority. There are a few elements, though, that if taken into consideration, can enhance access and usability greatly. Knowing and incorporating these elements on the front end of the design process can save hours down the line.
Nigel Coutts

The importance of feeling safe in your workplace - The Learner's Way - 5 views

thelearnersway.net/...feeling-safe-in-your-workplace

safety leadership education teaching creativity

shared by Nigel Coutts on 08 Mar 20 - No Cached
  • Nigel Coutts on 08 Mar 20
     
    It's interesting how threads emerge from the books we read. An idea springs out at you from one book and then occurs again in another or a link is found between the two. When it turns up a third time in a different place and from an alternate perspective you really take notice. I have had this experience with the concept of emotional or psychological safety.
Nigel Coutts

Celebrating the significance of creativity for educations future success - The Learner's Way - 4 views

thelearnersway.net/...-for-educations-future-success

education creativity learning 21stcenturylearning thinking problem solving

shared by Nigel Coutts on 23 Feb 20 - No Cached
  • Nigel Coutts on 23 Feb 20
     
    Our collective ability to learn and by doing so, adapt to changing circumstances through the acquisition of new skills and dispositions is what Edward de Bono refers to as EBNE; Essential But Not Enough. - What then might education need as it develops a response to times of rapid change?
Nigel Coutts

The challenge of educating for unknown unknowns - The Learner's Way - 6 views

thelearnersway.net/...educating-for-unknown-unknowns

learning 21stcenturylearning teaching education thinking creativity critical empathy reasoning

shared by Nigel Coutts on 09 Feb 20 - No Cached
  • Nigel Coutts on 09 Feb 20
     
    It is almost precisely eighteen years since Donald Rumsfeld uttered his now well-regarded commentary on the danger of "unknown unknowns". At the time his remarks brought more confusion than clarity and reinforced for many a belief that politicians use words to conceal the truth. Somehow though, Donald's words from 2002 seem to fit the world of today, and the challenges confronting educators all too well.
Martin Burrett

Book: The Arts in Primary Education by @Gigske via @BloomsburyEd - 1 views

ukedchat.com/...arts-primary-edu

book book review

shared by Martin Burrett on 07 Sep 19 - No Cached
  • Martin Burrett on 07 Sep 19
     
    "The Arts in Primary Education shows how resources already present in schools, such as picture books or the outdoor environment, can be used to develop a creative culture. With a focus on long-term initiatives including partnerships with art institutions and the training and personal development of teachers, the book also presents clear and accessible explanations of the benefits of integrating the arts across a school. Backed by research and evidence and complete with images and descriptions of artworks, this guide is ideal for helping develop a whole-school arts curriculum to enrich learning and raise attainment in all subject areas."
meghankelly492

The rise of creative youth development: Arts Education Policy Review: Vol 118, No 1 - 3 views

www.tandfonline.com/...10632913.2015.1064051

world Music

shared by meghankelly492 on 11 Aug 19 - No Cached
  • The article describes creative youth development in the larger contexts of arts education and of education reform.
  • Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.
  • 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
  • ...11 more annotations...
  • attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking
  • such as heightened confidence and sense of agency
  • 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
  • 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.
  • The creative process at the center of CYD programs contributes to profound personal growth for youth participants
  • 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.”
  • 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
  • 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.
  • impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities
  • She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (
  • 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—
meghankelly492

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

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Nigel Coutts

Reflections from The Future of Education Conference - The Learner's Way - 9 views

thelearnersway.net/...future-of-education-conference

reflections future education conference teaching collaboration learning

shared by Nigel Coutts on 07 Jul 19 - No Cached
  • Nigel Coutts on 07 Jul 19
     
    The Future of Education is a topic often discussed, and at the recent gathering of educators in Florence, it was the title and theme for the conference. Now in its ninth year, The Future of Education is an international conference that attracts educators from around the world and across all domains touched by education. The conference is an inspiring two days of discussion and sharing, with the city of Florence, the centre of the Renaissance, providing a constant reminder of what might be possible when creativity and critical thinking combine. Here are my key takeaways from this event.
Bob Maloy

Bookcase for Young Writers - 12 views

sites.google.com/...home

writing process creative expository

shared by Bob Maloy on 05 Jun 19 - No Cached
  • Bob Maloy on 05 Jun 19
     
    A Google site featuring ideas and strategies for inspiring young writers. This site has been developed to accompany a revised edition of Kids Have All the Write Stuff by Sharon Edwards, Robert W. Maloy and Torrey Trust (University of Massachusetts Press, 2019)
  • Bob Maloy on 05 Jun 19
     
    A Google site featuring ideas and strategies for inspiring young writers. This site has been developed to accompany a revised edition of Kids Have All the Write Stuff by Sharon Edwards, Robert W. Maloy and Torrey Trust (University of Massachusetts Press, 2019)
meghankelly492

"Can't We Just Change the Words?": EBSCOhost - 1 views

web.b.ebscohost.com/...detail

Music Theory Test Review UFMUE

shared by meghankelly492 on 24 May 19 - No Cached
  • The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.
  • However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity
  • The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.
  • ...10 more annotations...
  • how does each author use authenticity as a strategy for making or justifying decisions in music education?
  • authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
  • since the original loses some of its essential qualities in a simplification.5
  • His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions
  • Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).
  • Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
  • Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
  • Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.
  • Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.
  • "World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.
Martin Burrett

@ReachRobotics Launches Coding Education App - ReachEDU - 6 views

ukedchat.com/...reachrobotics-coding

robotics STEM

shared by Martin Burrett on 20 May 19 - No Cached
  • Martin Burrett on 20 May 19
     
    "Functioning with the quadruped MekaMon robot, Reach EDU will utlise MekaMon's sophisticated locomotion and personality to entertain, inspire and educate students from across the academic spectrum by bringing creative learning and advanced robotics together. Operating alongside the existing MekaMon gaming app, Reach EDU will launch with six guided missions to support the KS2 Computer Science curriculum with plans to formally expand into KS3 and 4 in the next academic year."
Martin Burrett

Implementing Thinking Hats Effectively In The Classroom by @JMcKay1972 - 7 views

ukedchat.com/...thinking-hats

theory pedagogy

shared by Martin Burrett on 17 May 19 - No Cached
  • Martin Burrett on 17 May 19
     
    "With an increased awareness of the need to develop a more flexible approach in delivering 'value' to learning experiences and providing teaching staff with opportunities for greater creativity in the teaching process, then Edward De Bono's Six Thinking Hats (1994) may be a tool to help increase academic achievement and behaviours."
Martin Burrett

Book: Learning with Leonardo by Ian Warwick & Ray Speakman via @JohnCattEd - 10 views

ukedchat.com/...learning-with-leonardo

book review

shared by Martin Burrett on 09 May 19 - No Cached
  • Martin Burrett on 09 May 19
     
    "From the outset, I want to be clear - Leonardo da Vinci, not Leonardo DiCaprio. But don't despair, there is a still a lot Mr da Vinci has to offer in our modern world, with many of seven key concepts that drove his inventive thinking still helping to influence our creative thinking. Ray Speakman and Ian Warwick, in their book, look closely at the seven key concepts that influenced da Vinci's life, and how they can make our own learning more original and thoughtful. The seven key concepts are no big secret, but the authors frame them into a modern narrative that makes understanding ourselves, nature and reality possible. Throughout, much is made of Leonardo's notebooks - the sanctuary where he noted his observations, thoughts and discoveries - where he was constantly pushing his understanding to the edges of what was possible during the period he lived. A lot can be learned from such an approach, as jotting down our thoughts, discoveries and inspirations can help us organise our minds - and could be beneficial for many young learners."
Sergei Polovin

Control Alt Achieve: 7 Super Screencasting Activities for School - 24 views

www.controlaltachieve.com/...screencasting-activities.html

screencasting

shared by Sergei Polovin on 14 Mar 19 - No Cached
  • Sergei Polovin on 14 Mar 19
     
    In this blog post we are going to take a look at seven creative activities that can be done with screencasting. Although these activities can likely be done with many of the common screencasting tools available, for the demonstrations I have included here I will be using the free Screencastify Chrome web extension.
Martin Burrett

How the arts can help students who struggle most - 6 views

ukedchat.com/...arts-help-students

art

shared by Martin Burrett on 12 Mar 19 - No Cached
  • Martin Burrett on 12 Mar 19
     
    "Incorporating the arts-rapping, dancing, drawing-into science lessons can help low-achieving students retain more knowledge and possibly help students of all ability levels be more creative in their learning, finds a new study by Johns Hopkins University. The findings were published on Feb. 7 in Trends in Neuroscience and Education and support broader arts integration in the classroom."
Nigel Coutts

Curiosity as the edge of knowledge phenomenon that drives learning - The Learner's Way - 12 views

thelearnersway.net/...henomenon-that-drives-learning

curiosity edge knowledge learning learner education

shared by Nigel Coutts on 27 Jan 19 - No Cached
  • Nigel Coutts on 27 Jan 19
     
    We are driven by curiosity. It is an innately human quality that has driven us to explore, ask questions, investigate, wonder why and search for a deeper understanding. In a very fundamental way curiosity is the driver of all self-directed learning. It is our desire to find out more, unlock new knowledge and answer our questions (big ones and little ones) that compels us to learn. Sir Ken Robinson famously and provocatively asked "Do Schools Kill Creativity?". The same question might be asked about curiosity.
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